Discusses Bernhard's sculptures and drawings depicting crosses, 1965-1989, in relation to the paired concepts of body and cross, figure and sign (symbol), and wood and iron (as expressive materials). Focuses on two sculptures, Kreuz, 1986 (Heidelberg, Kapelle der Kopf-Klinik) and Gestürztes Kreuz, 1989 (no location given). Explores through semiotic and formal analysis both the specifically Christian meaning of Bernhard's crosses and their references to human suffering and mortality in general.
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