1995, and later the Gallery Frank Hanel in Frankfurt, Germany. Informed in part by the rise of the Truth and reconciliation commission that was slowly unearthing the dark truths hidden in Apartheid's murky past, the exhibition consisted of latex gloves filled with objects found on the streets of Frankfurt as well as a larger installation of photographs. Barker had long since established his reputation as a flaneur, that is, one who walks the streets of the city collecting objects and experiences. In an adjoining room, a work called 'Zelbst' over 300 portrait photographs of black people in 1970s South Africa, was suspended from the ceiling. The exhibition spoke to the notion of the object on one level, with regards to the latex gloves and their contents – nothing gets lost in the universe, only found under a different set of circumstances, with a particular history and patina attached to it. On another level, the haunting portraits that made up Zelbst spoke to a different sort of sensitivity not wholly unconnected to that shown by the latex glove objects. These were critical of representation, a moment frozen in time, transformed through photography into objects, not dissimilar to the toy guns, pipes and coffee filters found on the streets of Frankfurt. In this way, Barker became the ultimate flaneur, a collector of lived experience, pursuing the idea that history does not forget, and that nothing gets lost in the universe. Land and desire – the Pierneef paintings 1990–2015 In the early 90s, Barker started an investigation that would span over two decades. Taking the work of the Afrikaner nationalist landscape artist, J.H Pierneef (1886–1957), Barker began to disseminate what remains to this day a highly contested issue in South Africa – land, colonialism and ownership."As I understand it, Pierneef was a propagandist for the white view of South Africa" – Wayne Barker 1990 Pierneef's idealised South African landscapes have since been located by art critics and historians as being rooted in a strong Afrikaans nationalist outlook. Where his painting style was revolutionary to the time, his concerns were more aligned to the ideologies of the current, ruling political philosophy. The 'propaganda' Barker speaks of lay in Pierneef's deliberate omission of the existence of any sort of black presence, and his subtle conviction that the magnificent landscapes depicted were the God-given right of the Afrikaner. Barker would painstakingly recreate Pierneef's landscapes, before introducing