“Seven Plus One and Again” opens up a certain dualism by dividing the exhibition space, the top of Murzins self-build Sisyphus wagon, through a rectangular, diagonal shape into two sides. One side, painted black, seems to represent the old while the other side, painted in white, represents the new, simultaneously mocking the traditional presentation orders of art – the Black Box and the White Cube. The black side does represent the past, but not only in terms of ancient art practices or media or in regard to Murzins personal process of artistic education, it also serves as a locus where the past iterations of the Sisyphus museum cumulate, especially regarding the use of materials as the clay from the 4th chapter “Between Fire & Fare” underlining the idea of recycling. By referencing the artistic language of the Russian avant-garde, not only through the overall shape of the exhibition space but also through the predominant use of diagonals and rectangles and a constant play with black and white, the artist explores his own artistic roots in the realm of this futurist conception of art. Furthermore, Murzin explores his personal artistic journey while tracing it back to his origins as an artist presented through his early photograms picturing details of kitchen tools. These photograms serve as references to his previous practice while studying at the Städelschule and working in the school’s kitchen. Small, elementary clay figurines in front of the photograms can be seen as playful samples created during a phase of learning and are all about the experimental, deeply rooted in the process of finding one’s own voice as an artist.