VIENNA.- The collages, films, and architectural mises-en-scène of the Croatian artist David Maljković form part of the current critical engagement with modernism. Maljković turns his attention to sculptural and architectonic symbols that, against the backdrop of Yugoslav socialism, signified the dawn of a new era. He renegotiates these on a historic, cultural, and theoretical level by relating it to the present and the future. In his exhibition at the Secession he takes a different path: He reflects his own previous ideas by giving many of his existing works a radical restaging. Objects developed as presentation structures for other contexts and contents will be cleared out and emptied. Maljković arranges these objects in the main exhibition hall and accents them only with minimal marks and interventions like fog or sounds. In this way, Exhibitions for Secession is deliberately at odds with the model of