When Günther Förg died on December 5, 2013, he had that same year been working intensely on a cata­logue raisonné of his murals, which, unfortunately, he wasn’t able to complete. Günther Förg’s wall paintings form one of the central aspects of his entire oeuvre. They opened up all kinds of presentation possibilities, could be combined with photographs as well as paint­ings. Their intention was to clarify the room, to add rhythm to its inner structure. He was, with his skillful appropriation, in no way inferior to his great predecessors, be it Malevich, Rothko or Palermo; if anything, he might as such have been surpassing them every now and then. In any case, many of his contemporaries envy him today for the time and manner in which he approached individual rooms, as well as entire spatial perspectives. In 1986, Max Wechsler wrote in the newspaper »Vaterland« on the occasion of Günther Förg’s exhibition at Kunsthalle Bern that »the layout of the space and image presentation merge quite naturally. The rooms initially exude a cool, almost design-like elegance, which, be­yond any particular significance, brings to bear the unique architecture of the Kunsthalle, inviting the viewer to meander. Gradually, the deliberate nature of the settings come into effect, and the excessive presence of the ­spaces starts to radiate, opening further spaces: insights and perspectives. Structures come into play, ­atmospheres are evoked and feelings aroused; a complex system of relationships reveals itself, which simul­taneously break it all up and hold it together. The present volume repro­duces these artist notebooks in facsimile. A catalogue ­raisonné must remain subject to a later, careful scientific research. The publication does allow to a first summary insight into this fundamental, yet extremely extensive, aspect of his work. Günther Förg’s data sheets, edited in manuscript, were carefully reproduced in facsimile, and a few sheets feature additional, near identical colour samples.