Circular, colorful, imaginative and almost psychedelic are Frank Stella's interpretations of fictional places from world literature. They bear sonorous names like Fattipuff, Dubiaxo, Plutusia, Jundapur, Bilbimtesirol or Egyplosis. They are taken from the "Dictionary of imaginary places" and are translated by Frank Stella into his pictorial language so typical of the 1990s. In direct comparison with his early, monochrome "Black Paintings" and "Concentric Squares", which are still considered pioneering works of Minimal Art, it is hard to imagine that these works were created by the same artist. With regard to his personal, artistic development, however, "Egyplosis" fits perfectly, both in terms of theme and style. With his famous "Shaped Canvases" and the series of "Copper Paintings," he was already probing the limits of the image carrier in painting in the 1960s, searching for a new meaning for the traditional medium and gradually striving for more three-dimensionality. The use of color also changed over the decades. As early as in the mid-1970s, he created large, brightly colored reliefs, mostly of aluminum and fiberglass, composed of geometric shapes. In the early 1990s, he finally conquered three-dimensional space with sculptural works, relief friezes, and outdoor sculptures. In terms of content, Frank Stella also repeatedly takes up new themes which he explores in extensive series of works, such as "Cones and Pillars" or the "Moby Dick" series. Not infrequently, the discovery of a new thematic focus is accompanied by a stylistic change. In the series "Imaginary Places," which in addition to unique works such as "Egyplosis" also includes two graphic cycles, he tested the diversity of the circular image section and the radiant power of the colors in ornamental compositions reminiscent of mandalas in the 1990s. Hardly to be surpassed in imagination, color power, and content references, his interpretations of fictional places in world literature exemplify his radical, artistic development, "which led him from minimalism to maximalism" and distinguish him as one of the "most versatile and innovative artists" of his generation (Holger Broeker, Allgemaeines Künstlerlexikon, Vol. 106, Berlin/Boston 2020, pp.98-99). [AR]