The years 2002 to 2005 were characterised by work on a cycle consisting of thirteen paintings, some of them large-format. They were the highlight of the exhibition of the same name at Kunstallianz 1 in Berlin in 2005.
The catalogue for this exhibition provides an impressive overview of the artist's work, written by the Berlin-based Wolfgang Thiede, a profound expert on Albrecht Gehse's painting, who knowledgeably explains all facets of his extensive oeuvre.

The unabridged quotations are taken from this text.

"Compared to the pioneers of form in modern art, such as the scientific methods of pointillism, the concepts of abstraction or the stylisations of pop art, Albrecht Gehse's painting can appear traditional at first glance. Initially as a successor to Soutine or the late Corinth, but also as a revival of older patterns, as in the late portraits of Titian or Rembrandt. However, such an approach remains largely superficial, so to speak, when looking at the skin of the painting.
We must not be deceived by the bloodthirsty style of painting. However, it is as powerful as in the previous painterly expressives. It is like that: Extremely heightened colour vision and an almost primitive immediacy of mallust drive the painter Gehse to his pictures."

"What sets Gehse's exciting pictures apart from his peers is something we haven't seen in German art for a long time since Beckmann: the creation of his own myths. Like Beckmann, Gehse did not invent any subject matter. But he paints pictures that, above all in terms of content, remain in the memory solely because of their suggestive power and emotional impact. They confront the content of today, the multidimensionality of life and society, with symbols that reveal and at the same time conceal, that can only provide enigmatic information."

"Gehse's great compositions are all great images of society. But he does not directly trace the fractures and contradictions in these images of conflict in our society. And he does not limit them to depicting and criticising social reality. Gehse is no less "critical" or "realistic" than the realism-foolish Critical Realists. But in his pictorial inventions full of breaking references and mediating or excluding symbols, these fractures and contradictions emerge more purely and directly, more artistically. Whereby, despite all his engagement with the diversity of phenomena, he noticeably keeps a totality in view."