Hans Kupelwieser's "Heads" are equally a differential position to the monument, to the great sculptural project, and, like his other works for Krems and St. Pölten, a precise examination of the location. However, if his commissioned works for the Hammerpark or for the Jewish cemetery in Krems are usable or accessible, one finds a radical attitude of refusal here.
The heads, which are lined up one above the other and next to one another, which negate any gesture in their serial production, look towards the wall without the presence of a possible viewer. The sculptor's statement is therefore the industrial series product in a stackable handling and its negation in the direction of view. Not an individual, but an arbitrary model for the head is decisive, whereby an anonymity creeps in, which in turn interprets and describes the location. "Hohlkopfwand" in the sense of anonymous official activity? In the traditional sense, a government district is a sovereign area with the same claim, and even if this is not explicitly stated, it is present and virulent. Hans Kupelwieser's "heads" undermine this claim from the outset, they deny tradition a view and space. In the mirror of the wall, they reflect the architecture, with which they are closely connected through their placement and almost absorb it.
(Source: Published Art - Art in Public Space 4, Catalog of the Lower Austrian State Museum, New Series No. 418, 1998)