Key themes and forms also appear in another new body of work of oil-on-canvas paintings – the first time images by the artist are executed by commercial painters. These interpretations of the artist’s imagery are then grouped into compositions, operating similarly to the Cluster series. Throughout the exhibition, motifs from the artist's oeuvre reoccur in different forms and materials. For example an existing wool painting now rendered as an oil-oil-canvas painting, or a motif from a pre-existing Cluster, now grouped in a small combination of prints.

In her large-scale Cluster series, Trockel revisits and samples several of her previous works from various times and contexts by making each grouping a unique work full of contradiction. CLUSTER VI: Door Ajar consists of 14 digitally reconfigured photographs including snapshots taken by the artist with her iPhone, a number of staged or digitally manipulated images as well as reconfigurations of her own works since the early 1980s.

In front of Cluster VI: Door Ajar, the abstract sofa-sculpture Device (2015) is part of a body of work that takes inspiration from pieces of furniture like a sofa, bed or cabinet. A selection of prints and drawings are displayed on it, connecting the sculptural and print work of the artist. In some instances, the framed works overlap each other and parts of themselves. Too low to actually sit on, the sculpture hosts works from different periods of time.

A new variation of connections through sampling images and motifs is presented as a series of smaller, square prints framed in Plexiglass. They are grouped with single works in different frames in a brown painted room, taking its color scheme from the wooden floor in the gallery, thus creating an intimate cabinet-like atmosphere that might recall museum displays from the 19th century.