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"Both Richter and Malevich pursue the idea of a Nature without meaning and without a plan-which is a much more accurate 'image' of the Kunstwollen or underlying impulse of art history than any notion of conscious intention would be. For Malevich, Nature pursues no goal, and neither does Suprematist art. Richter, for his part, has coined the lapidary formulation: 'Nature/Structure'. There is no more to say. In my pictures I reduce to that.' Their paths diverge only in the forms of presentation. Where Malevich draws the analogy between the picture plane and the 'real unity of Nature', Richter lays his emphasis on a process of alternate generation and destruction, in which chance plays a vital role."

(M. Hentschel, Gerhard Richter, exh. cat., London, 1998, p. 17).