"The sculptress' participation in documenta 5, conceived by Harald Szeemann, showed that Inge Mahn's work belonged in this „Societal Anti-Form“ common to Concept Art and Arte Povera. In the sculpture shown then in Kassel - Classroom: eight benches with desks and a rostrum - perhaps the most important of the above-named categories was missing: the work was not set in relation to any element of its architectonic environs, but was transportable for varied exhibition situations. It altered and alienated, not the spatial surroundings themselves, but a societal institution: the hierarchical structure of learning became, in its plaster summation even more archaic: the individual mythology showed here, in biographical exegesis, a mythos of the everyday. In a certain way, the architectonic environment was taken into account: a school situation within the 'documenta' was an indication of the problematics of 'teaching' and 'learning' art, and offered itself ironically as an absurd 'visitors' school' in the attic."
S. von Wiese, 'Poetic Interventions: Inge Mahn's sculptural installations', in Inge Mahn: Gegenstände/Objects, Berlin: Künstlerhaus Bethanien, 1985, p. 152