In the case of Spill (scatter) (remade (in a way)) we are looking at a remake of Carl Andre’s 1966 work Spill (scatter). The latter spilled out discharged mah-jongg-tokens (an Asian strategy-game) on the galleries floor in 1966 and formed a work concept called ‘sculpture as place’: The sculpture as place is defined by its environment and the environment takes part of it. Schmidt-Hansen is taking over this concept but is stressing out his appropriative approach by adding ‘(remade (in a way))’. By random distribution of the little stones he is repeating Andre’s concept on the one hand. But the concept’s rejecting on the historical level is negotiated on a more idealistic level on the other, by maybe referring to the ‘Repeating of the eternal New’ (Beat Wyss) – the cultural process of memory which constantly requires a new charge with meaning.