Visitors of the Salon d'Automne in 1905 admired intensily "Méditerranée" by Maillol. Although they chattered about the presented sculpture: this woman could not rise to her feet, as its proportions did not fit well. An unknown visitor however did discover the truth: this female should never rise to her feet. She has to remain seated, since its form could only disclose its enclosed logic space, in this way. This incident immediately brings us to the work of Bernd Altenstein. He is convinced that in terms of modern sculptural arts spatial coherence does not exist by itself, but should be created. The architectural elements within which Altensteins human presentations give the figure a grip in structural and visual sense. The stable forms of triangle and square create a seeming geometric framework. However it is by the relations within the sculpture itself that the spatial coherence comes to existence. Works of Bernd Altenstein are based on the notion that relations within a sculpture and mathematical relations in geometry belong entirely to another world in spite of visual paralels. We pretend that discoveries in visual arts are of a similar value as the discovery of America. America has been discovered only once, though. The discovery of 1905 will be repeated as long as the visual art of sculpture exists.