For over 15 years, Heribert Friedl has been discovering the range of possibilities provided by fragrances and their effects. The major part of his work is represented by spatially-relevant installations and volatile architectures that explore the concept of the ‘non-visual object’ (an expression that he has been using since 1996 to characterize his work) – his fragrances become the bearers of meaning. It is only through the olfactory sense that Heribert Friedl’s art can be appreciated. Although there are next to no visual elements, the result is always a form of visual perception – an image in the mind. The work developed for the collection at Admont Abbey consists of a physical sculpture (the system platform) and a ‘sculpture’ that is dispersed throughout the room by means of interaction with visitors. When they activate the bellows, the fragrance is released into the copper tubing from where it escapes into the room through tiny holes in the tubes. However, this non-visual sculpture soon disperses. Only when a visitor again depresses the bellows is the sculpture recreated. There are clear references to historical artistic trends in the visual elements. The copper tubing is an industrial product that is being given pride of place. Heribert Friedl is still working on developing and perfecting.