The thesis attempts cross-referential readings of the work of the German artist Hans Haacke, Condensation Cube (1963). The mainstay of these cross-referential readings is defined by the theory of Real-time systems and Institutional Critique. The physical phenomenon of condensation which takes place inside the Cube (it is about a 30x30x30 cm cube made of plexi-glass which contains a small amount of water) has set the basic guideline for a depth investigation of material liquidity, in order liquidity to be highlighted as a timeless element, and furthermore as the fundamental allegorical structure which consists the prototype-structure of Haacke's approach, in the entity of his work, from early '60's until today. At the same time, the autonomy of the constant altering operation on the inside of Condensation Cube is equally considered as a constant "battle" which takes place in order to maintain a balance between the content of the Cube and the external environmental conditions.
This research for liquidity considers a) tropism which expresses the need to turn towards somewhere else p.e. a scientific field, and b) the notion of reflexivity which imposes a critical turn to the starting point, an attempt the initial scientific field to be transformed, to put an end in its isolation. This back and forth movement, this transformational spiral consists the basis of the cross-disciplinary investigations in Hans Haacke's artistic work.
Based on the above, and considering that the absence of signature in Hans Haacke's work consists his mere signature: the models which have been chosen to be prospected in the museum as well as in public space, have been put in the context of their pluralistic social/political and spacial/architectural dimensions.