At the beginning of the nineties, Jordi Colomer began to experiment with the possibilities of a sculpture that expanded into stage and architectural terrain. Like other works of its time, Frase (Der Wachtturm), from 1991, uses a minimalist language constructed from ordinary materials that already points to some of the interests that were to take shape in his work, like questioning the place of the viewer in the exhibition space and exploring the supposed frontiers between reality and fiction. In the case of “the sentence”, while the different pieces of wood allow us to read into it a rhythm, a form, a melody, they exclude us from that which supposedly constitutes language: meaning. Placed between plaster quotes, the signs do not guarantee any stable meaning, but allude to what they are: pure convention. An opaque communication that promises a content that never comes, reducing representation to its signing ability. A way of questioning the supposed ability of language to represent and, by extension, that of art itself.