Galerie Max Hetzler in Berlin is presenting ROT GELB BLAU STAUB, Sabine Moritz's debut solo exhibition with the gallery, on view through October 31. The show brings together a diverse cross-section of work from the German painter dating across the last three decades to the present: 12 large-format canvases hung in groups of three, her first-ever quadriptych, a still life, and a selection of early works on paper. It offers a broad view of an artist whose career has been defined by movement between abstraction and figuration. The exhibition's title translates as Red Yellow Blue Dust, and Moritz took the four classical elements, fire, air, earth and water, as her starting point and organizing principle. Rather than illustrating them, she treats them as undercurrents of colour and mood: concentrated, fiery reds; cooler blues and greens; dense, grounded earth tones. Since 2023 she has been reintroducing the figure into otherwise fully abstract fields, and the new paintings show bodies emerging from, or dissolving back into, gestural brushwork. The centrepiece is the new four-panel Fragment einer Idylle (1-4) (2026), in which standing, seated and reclining nude figures appear and vanish within foliage-like strokes of red, blue, orange, yellow and green. On the gallery's second floor, works on paper reveal an earlier chapter of Moritz's life and practice. Drawings made on photographs and newspapers carry motifs of helicopters, apartment blocks and a lone child, hinting at her childhood in East Germany. A memento mori still life, Teach Us to Number Our Days II (2026), sets three skulls and scattered fruit-like forms into the same dappled, jewel-toned ground, dissolving figuration into abstraction with the same instinct. Moritz's paintings are held by major institutions including the Centre Pompidou, Tate, the Museum of Contemporary Art in Los Angeles and the Hirshhorn Museum. The Berlin show also anticipates her solo presentation at the Garden Museum in London, opening October 8, 2026, a homecoming for an artist whose decades-long interrogation of form and its dissolution continues to open new ground.