Transformation

Karen and Christian Boros, in their Berlin penthouse atop the bunker, with Olafur Eliasson’s Colour Experiment No. 10, 2010.

The Boros bunker.

Thomas Ruff’s Karen, 2013, in the Boroses’ penthouse.

The penthouse living room.

The entry to Boros Collection.

A view of the penthouse’s interior.

Karen Boros, with three of the 40 paintings by Elizabeth Peyton in the couple’s collection.

Christian Boros’s Berlin offices.

The artist and Schinkel Pavillon curator, Nina Pohl, with her cat, Olmo, in her 1957 Atrium house, designed by Arne Jacobsen and set inside Tiergarten park.

The interior of Pohl’s bungalow, with sofas by the Campana Brothers.

Inside the GDR-era Schinkel Pavillon, with a view of Goshka Macuga’s 2016 site-specific exhibition “Now This, Is This the End… the End of the Beginning or the Beginning of the End? (Part 1).”

The exterior of the transformed Brutalist church that now houses the Konig Galerie.

An installation view of William Kentridge’s 2016 exhibition of prints at the Kewenig Galerie.

The gallerist Justus Kewenig (with the narwhal horn that is part of 
James Lee Byars’s Unicorn Horn in the White Circle, 1984).

Christian Boltanski’s The Work People of Halifax, 1995, 
a wall of rusty, labeled tin cans, installed inside the 
Kewenig warehouse and exhibition space.

The gallerist 
Johann König.

Installation view of Jorinde Voigt’s 2016 exhibition “Radical Relaxation,” at the Konig Galerie.