The (digital) slide projection comprises 278 pictures of border architecture and landscapes, which the photographer Doris Frohnapfel has selected from a collection of more than 5000 photographs. Frohnapfel’s view on border architecture is markedly unspectacular. In contrast to the euphoria for a Brussel’s Europe, the photographs portray the dreariness of frontier spaces, without specifying the locations: mostly deserted marks made of concrete, fences or bars, bare fields, meadows, straits or miles long truck queues. Over a couple of years time, Doris Frohnapfel has photographed international borders, mostly exterior borders of the European Union and Schengen borders. The pictures range from Istanbul and Ceuta as the southern-most spots to Raja-Jooseppi, one of the nothernmost posts between Finland and Russia. She also documents the course of the new borders, their construction and the consequent historical change of border landscapes, which is a result of many countries having joined the EU. Among these new frontiers are those in the Baltic countries, or the harbour in Bergen, which has only recently been palisaded like a stronghold, since Norway belongs to the Schengen countries but not to the EU, while Great Britain, as a member of the EU, did not ratify the Schengen treaty. Another new border is the Oder-Neiße line, which had at first been the frontier between the blocks, was then transformed into the EU border, afterwards a Schengen border. These images also confront the viewers with the boundaries of their own perception. To a certain degree, one is held at a distance from the border – exactly the security distance that Frohnapfel herself had to keep so as not to risk violating the grey area of illegality or having her camera confiscated.