Anselm Kiefer’s Für Walther von der Vogelweide – under der Linden an der Heide (2019) reflects the traces of a rural romantic encounter between two lovers, as described in Walther von der Vogelweide’s famous poem ‘Under der Linden’. | In Guinness Martin (1972), Rosemarie Castoro’s giant sculptural brushstrokes in Pitman shorthand, created by rubbing graphite into the gestural striations of gesso, pay homage to fellow artist Agnes Martin. | Georg Baselitz’s Eiskunstlauf (2019) was created using an innovative transfer method that leaves visible artefacts, such as the faint blurring of the figure’s face or the aerated texture of the pink paint. | Adrian Ghenie's evocations of the villains of history include Study for Collector 1 (2008), which centres on the figure of Hermann Göring, a ‘rapacious’ collector who ‘sacrificed his humanity for his obsession’. | Jules de Balincourt’s new series of abstract landscapes originate in a purely intuitive way of thinking, seeking ‘to provide a subconscious map, devoid of literal space, place, or logic’.