After studying under Gerhard Richter and Klaus Rinke, Marianne Pohl achieved notable success in the 1970s and 80s. Her work, characterised by strictly conceptual, yet deeply personal investigations into the perception of architectural spaces, was featured in both solo and group exhibitions throughout Germany. However, by the early 1990s, public interest shifted towards art history. This transition began with exhibition and research projects focusing on the aesthetic practices of female artists, eventually evolving to emphasise both artistic and art historical aspects. In 2015, a work by Marianne Pohl was shown in the exhibition “Ruhe vor dem Sturm. Postminimalist Art from the Rhineland.” The reviewer Helga Meister remarked in the magazine Kunstforum International: “The artists are delighted about the rediscovery of their beginnings. They gave tips and cross-references, so that colleagues who should have been discovered long ago, such as the Rinke student Marianne Pohl, whose folds on parchment with a delicately coloured skin of paste and pigment from the estate in Moyland were displayed on the museum walls.”