This last room features two new groups of work: Purple Edit and Ostgut/December Edit both dating from 2002. The former came out of a photo story that was made for Purple magazine and constitutes a larger edit of the images that Tillmans was considering for this project. The latter derives from a number of trips that he made to Berlin at the end of last year. During these visits, Tillmans had spent time at the nightclub Ostgut which was then closing down. Photographs taken from these nights are mixed with other images: there are views of bullet holes scarring church walls, of ice floating on a river. In Ostgut/December Edit there is a pervasive sense of congregation and communion. Tillmans is returning to the human figure, finding new ways to represent people. This togetherness and feeling for community that was so distinct in the earliest works seems to have risen to the surface once more.
End of Land I, 2002 © Wolfgang Tillmans, 2003	It is also significant that here Tillmans has arrived at a new format for showing this work, arranging postcard sized prints within a large, irregular grid network. The scale of each image invites close inspection whilst the overall structure can be read in a more abstract way from a few paces back. There is an energy and expansiveness to this presentation. It demonstrates an unwillingness to pare things down, a desire for inclusion rather than exclusion. This openness, this drive to touch upon every aspect of experience is in fact the very essence of his project. Tillmans has always maintained that no single work can or should sum up his work, that all his images must be judged and treated equally. As he himself has said: 'if one thing matters, everything matters'.