Are Michael Krebber's most recent pieces, made from wooden stretchers and industrially produced colored fabrics, paintings? Perhaps in the sense that, as Helmut Draxler's essay observes, Krebber's work deals with the relationships between signs: "how figure and ground, form and format, surface and space, color and object, frame and wall, object and installation, light and place, material and reference, title and context, original and found material can be related to one another.