For his exhibition, Hermann Pitz thus takes up a pattern of explanation that forms the basis of many presentations in ethnographic or technical museums. The explanation of the unknown begins with the explanation of its production. But unlike, for example, a skeleton in the airship section of the Zeppelin Museum, a work of art is more than just the sum of its parts, which is why the exhibition of Light from Bolzano - Tools from Düsseldorf cannot contain any assembly instructions.

Tools and equipment are to be understood as the artist's extended hands. This is why Pitz also describes his activity as "thinking with his hands", which is not intended to limit art to its craftsmanship, but - on the contrary - emphasizes the unity of image finding and image creation. Against the background of a process-oriented definition of art, the tools do indeed play an important role, but on the other hand their presentation in the sense of an archive also emphatically emphasizes their insignificance. Although their material and their nature can influence the expression of the work, the fact that they are not presented as part of an unalterable chain of action, but as self-referential bodies, points to their dependence on the artistic activity: it is not the finished work of art that is at the center of the presentation, but the beginning and end of the process that leads to its creation. This will also be reflected in the book accompanying the exhibition, which Hermann Pitz is designing as an integral part of the exhibition. For the most part, it will be a catalog in the classic sense, listing the objects presented, naming them and telling their story. In this way, Pitz also draws on the explanatory schemes that are more familiar from historical museums.