Heiner Meyer’s painting is characterized by consistency and an undogmatic reluctance to compromise as well as by the principles of arte sull’arte—art of which the primary subject is art. With superior ease he lays quotes and adaptations from a wide variety of sources one upon the other, thereby demonstrating the synchronicity of nonsynchronicity. Sculptures from classical Greek antiquity, portraits of movie stars of the 1950s, Mickey Mouse and other comic book characters, butterflies, cubes—these are the recurring set pieces of Meyer’s pictorial language, which he quotes in ever newer constellations and confrontations. This subjective iconography is reconstituted from picture to picture. Meyer’s art is always a new creation, never a repetition. His pictorial vocabulary is declined and conjugated in a different way in each of his works.