The sublime overwhelms both senses and thoughts. It was discussed in the context of art and assigned as an aesthetic category to both beauty and horror. In the middle of the 20th century it was taken up in the context of American post-war painting, for example by Barnett Newman or Mark Rothko.

The sublime is present again in contemporary art—in different ways: There are serious realizations, but also ironic or humorous breakings. Overwhelming landscape motifs exist alongside works that reflect, for example, the incredible dynamics of the art market. Light and empty spaces also play an important role. The title of the exhibition takes this aspect into account, but also the unimaginable with the paradoxical pair of terms: black light.