Brehmer's early works are associated with Capitalist Realism – the initiative centred around Galerie René Block in Berlin in the mid to late 1960s, that included fellow artists KH Hödicke, Konrad Lueg, Sigmar Polke, Gerhard Richter and Wolf Vostell. The interest in the reproduced image spread through mass-media extends through Brehmer's entire work. For example, images from magazines and advertising serve as models for his prints, from which he derives an iconography of consumption and thus emphasizes its mechanisms. Another extensive group of works emerges from 1966 onwards and investigates the propagandistic potential of stamps, as in the graphic portfolio Deutsche Werte (Edition Block, 1967). At that time, Brehmer also began to use the formal vocabulary of information graphics, geographic and political maps in the context of the Cold War, as well as color scales and patterns for the "visualization of real, sociopolitical processes" (Brehmer). In pseudo-scientific, formal-aesthetic experimental arrangements, KP Brehmer graphically depicts political, sociological, economic, and later also psychological and emotional states (Korrektur der Nationalfarben, 1970, Seele und Gefühl eines Arbeiters, 1978/80). His affinity with the media sound/music is articulated for the first time in the re-visualization of the "Pictures of an Exhibition", which was shown in New York in 1975 (René Block Gallery), later found a new expression in the form of 10 etchings (Bilder einer Ausstellung, Edition Block, 1975/1988).
The exhibition shows selected prints and paintings.