Thomas Zipp is one of those artists who are able to go beyond simply presenting a solo show at an exhibition venue like the Kunsthalle Fridericianum; instead he transforms it in its entirety. Under the title (WHITE REFORMATION CO-OP) MENS SANA IN CORPORE SANO, Zipp is dedicating his show in Kassel to the question of standard and deviation, social exclusion and the exploration of the self, by turning the spaces of the Kunsthalle Fridericianum into a ‘psychiatric hospital’ depicted with a gloomy aesthetic and satirical exaggeration.With his subtitle MENS SANA IN CORPORE SANO, Zipp is alluding to a famous quotation from the Roman poet Juvenal (ca. 60–140 AD), who as a satirist sharply criticised the signs of his time. This idea of bringing together mind, health, and body, which once adorned many buildings and coats-of-arms, equates, in a discrediting way, a healthy body with a healthy mind and was employed frequently over the course of ‘nationalist popular education’ and the creation and evolution of ‘internment homes’, ‘reformatories’ and ‘psychiatric homes’ since the late seventeenth century. Against this backdrop, the Kunsthalle Fridericianum will undergo a complete transformation. Thomas Zipp is replacing the large inscription on its portal with the title of the exhibition, and the foyer will be turned into the lobby of an ‘institution.’ In the spacious main wings of the Fridericianum, the artist is combining powerful installation interventions with a large selection of his sculptural and painted oeuvre. By lowering the overall lighting and employing garish neon lights, Zipp creates the illusion of long, winding corridors whose doors lead to accessible and inaccessible rooms, in which the themes of the exhibition are taken up again and again in paintings and sculptures, such as his Psychonauten (Psychonauts). These corridors connect to the side wings, which house the large installations of a cell, a gymnasium, and a hall of mirrors with concave and convex forms that distort their mirror images.