In his work, German artist Gregor Hildebrandt investigates the passage of time, most often using contemporary objects that embody it, such as the physical materials of video and cassette tapes. He takes this exploration further in his latest show, “Daß dieser Mai nie ende” (If Only This May Would Never End), his third at Wentrup gallery in the blossoming gallery district surrounding Berlin’s Tempelhofer Ufer, on view through June 13. The title is a line taken from German singer-songwriter Konstantin Weckers song “Nur dafur lasst uns leben” (Let Us Only Live for That) and serves as an additional reminder of the passing of time.

The focal work of the exhibition is Großer Kassettensetzkasten (Large Cassette Case) (2009), a monumental installation of wooden cassette-tape storage units fit together and mounted to the wall. The units contain empty tape booklets and cases, and a bold painterly design has been added in black on their unified façade, creating an object reminiscent of the large-scale works of the American Abstract Expressionist Franz Kline and also, in such proximity to the former dividing point between East and West, the Berlin Wall. While Hildebrandt pays homage to history and to an art-historical great, however, Großer Kassettensetzkasten also serves as a tribute to his own career thus far — all of the empty cassette cases and booklets have been used in previous works.

Hildebrandt manipulates tape itself in Gimme danger (Pop) (2009), creating an Abstract Expressionist–inspired piece using more contemporary materials. On a white painted canvas, the artist attached pieces of magnetic tape delicately cut to resemble black paint splatters. The viewer is misled into believing the work is done in paint; that it is composed with tape is revealed only upon close inspection. Gimme Danger references the past and time through its art-historical referencing and through its material, both a temporal medium and an already dated object.

Another standout piece on view is the minimalist Rauch (Smoke) (2009), which is a display case holding the butt of a cigarette the artist once smoked, as well as its ashes. Alluding to Piero Manzonis Fiato d’artista (Artist’s Breath) (1960), in which Manzoni blew up balloons and attached them to wooden pedestals, Hildebrandt takes the process of questioning authorship and the artist’s status one step further.

Overall there is a certain irony to the exhibition. Hildebrandt’s objects — video and cassette tapes that serve as sort of containers of time, as well as the containers manufactured to hold them — are nearly obsolete. It will be interesting to see if the artist eventually explores a new wave of containment via computer chips and memory drives.

Here are Hildebrandt’s suggestions for other shows to see in Berlin this weekend:

1. Mandla Reuter: Souvenir at the Schinkel Pavillon, through June 13

“I just really like these works by Mandla Reuter.”

2. Isa Melsheimer: Das Durchdrehen der Schraube (The Twisting of the Screw) at Barbara Wien, through July 4

“This exhibition from Isa Melsheimer at Barbara Wien impresses with its generosity and sophistication.”

3. Wolfgang Lugmair at Kwadrat Berlin, closed May 9

“Lehmann’s works show really interesting perspectives and are therefore really worthwhile.”

4. John Bock at Helga Maria Klosterfelde, through July 4

“Refreshing! Very recommended.”

5. Richard Artschwager at Sprueth Magers, through August 29, and Ernst Wilhelm Nay and Colors – Paintings of the 1960s at Haus am Waldsee, through August 9

“Real classics. Furthermore, I'm looking forward to see Saâdane Afif, COMA, Hansjoerg Dobliar, Kamm, König, Corinne Wasmuht, Silva Agostini, and Tilmann Hornig, as well as Sergej Jensen and Wolfgang Breuer in the Kunstwerke.”