In 1966 the autodidact Adolf Luther put aside canvas, paint and paintbrush and made use of his actual surroundings and spherical concave mirrors as the material and technique for his artistic praxis. He worked initially with single concave mirror objects. These refract the light, reflect it and thus show to impressive advantage the interplay of transparent space and the immaterial energy of light. From 1970 onwards Luther transferred the atmospheric effect of the concave mirror into the real space in his serially arranged and multi-perspectivally focused integrations. For the artist, whose vocation came late and who was loosely associated with the Düsseldorf ZERO group, architecture was part of a world that was in constant movement. In his objects and installations, it is expanded by the kinetic potential of light.