With its issue on Heiner Stachelhaus, sediment starts a new series of themes that introduce outstanding personalities of art criticism. Heiner Stachelhaus began his career in the 1960s, the heyday of art criticism, under the sign of the popularization and the democratization of art and the education of a broad public, all of which he mastered just as well as that of art critical introspection. His monographs on Joseph Beuys, ZERO, and on others that Stachelhaus has put in a nutshell (Auf den Punkt gebracht), as well as the background to his activity from which came Nicht nor Verrisse (not only damning reviews), to name only two of his many critical anthologies, are as usual illustrated with a great deal of picture and text documents.