從前有個書生，和未婚妻約好在某年某月某日結婚。到那一天，未婚妻卻嫁給了別人。書生受此打擊，一病不起。這時，路過一遊方僧人，從懷裡摸出一面鏡子叫書生看。。。
書生看到茫茫大海，一名遇害的女子一絲不掛地躺在海灘上。路過一人，看一眼，搖搖頭，走了。又路過一人，將衣服脫下，給女屍蓋上，走了。再路過一人，過去，挖個坑，小心翼翼把屍體掩埋了。
僧人解釋道，那具海灘上的女屍，就是你未婚妻的前世。你是第二個路過的人，曾給過他一件衣服。她今生和你相戀，只為還你一個情。但是她最終要報答一生一世的人，是最後那個把她掩埋的人，那人就是他現在的丈夫。。。
書生大悟。
I hope Bruce Nauman's Square Depression, a 25x25m hollow in white concrete some 2.5m in depth, remains permanently in the ground before the Centre for Natural Sciences on Wilhelm-Klemm-Str. Nauman proposed the piece in 1977 but it was resisted then by regional planners and was not realised. However, neither its scale, nor significance nor cost--Nauman has offered the piece for its 1977 price of 3,200 [euro]--will guarantee that it does. The piece encapsulates the retrospective potential of Munster and links well to the '77/87/97/07 Archive'exhibition overseen by Brigitte Franzen and housed in the Landesmuseum. The brilliance of Square Depression is partly that conceptually it dates from 1977 and takes form as a contemporary index to the works of Joseph Beuys, Donald Judd, Richard Serra, Claes Oldenburg, Carl Andre, Richard Long, Ulrich Ruckriem and Michael Asher. The horizon begins to float above your head as you walk down a gradient to the apex of one of four isosceles triangles. The piece returns the viewer to when Nauman was occupied with negative space and the physicality of the perceiving and perceived body. Annette Wehrmann's AaSpa-Wellness am See produces its own expectations of 'permanent' transformation and regeneration to the body, the city and its landscape. Two crudely hand-painted boards announce the construction site plans and a rendition of a domed-shaped glass structure along the artificial banks of Lake Aa. The construction hoarding, behind which diggers perpetually stack sod and shift piles of topsoil, sets up one of many semi-permeable boundaries across Munster delineating the political fault lines of private enterprise in what is ostensibly public space. (COPYRIGHT 2007 Britannia Art Publications Ltd.)
