From Day to Day brings works realised in the last twenty years to the same level and in dialogue with each other, circumventing a chronological order without pinning the production in thematic groupings. 

The works are supported by four asymmetrical architectural interventions, which subtly re-direct Klas Anshelm's strictly geometric art-hall architecture. Several pieces refer to people such as the poet Alejandra Pizarnik, the musician Hermann Scherchen or the poet, director, and writer Pier Paolo Pasolini. The designer Marianne Brandt and the dancer and choreographer Simone Forti are also examples of artists highlighted alongside them. In another work titled Inheritance (2013), I look into my late father's photographic archive.

The exhibition's sense of inclusion extends to the viewer: some works invite interaction through playful, performative elements. In Untitled (2003), visitors can leave temporary messages with large magnetic letters on an oversized blackboard. Another example is the installation The Sun Twenty-Four Hours (2011), set up near the entrance. It is an open invitation to reflect on time and one's presence in the exhibition space, a suggestion to the public to turn over one of sixty hand-blown 60-minute hourglasses distributed on six metal shelves.