Roll your cursor over the Room Plan on the left to find out about what's on in each room. Click on a room to find out more.

In his early photographs Tillmans portrays the world in terms of differentiation and diversification. Certain ongoing thematic interests emerge - such as the way clothes hang or fall - and the traditional categories of landscape, still-life and figure interweave.

In 1994, Tillmans was responsible for conceiving and realising his first monograph, published by Taschen. It also functioned as his first artist's book, a medium that was to become crucial in the presentation of his images.

In Tillmans' work his preoccupation with viewing the world from a commonplace perspective is central. 'In photography I like to assume exactly the unprivileged position, the position everybody can take, that chooses to sit at an airplane window or chooses to climb a tower.

Between 2000 and 2001 Tillmans concentrated much of his energy on making abstract works (such as the series of Blushes) as well as making semi-abstract 'intervention' pieces (for example, I don't want to get over you 2000).

The purely abstract 'cameraless pictures' create an interesting dialogue with Tillmans' representational photographs - one invariably informs our reading of the other and vice-versa. Tillmans deliberately conflates the languages of abstraction and figuration as if to shift the ground from under us.

Lights (body) 2002 is Tillmans' first video installation. Focusing on the lights in a dance club at peak time on different Saturday nights, the only indication of people on the crowded dance floor are the subtle vibrations and occasionally visible particles of dust.

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.