The composition is horizontally structured and looks like a scenic excerpt: on the left is a group of people, collaged and fragmented. They are looking at a geometric-abstract picture in bright red and blue, which appears to be a work of art within a work of art. On the right, a figure painted over in a whitish colour, physically present but ghostly removed from the scene. Interpersonal distance, observation and self-alienation are at the centre of this depiction.

‘Alles’ (tutti) is thus closely linked to West's interest in psychoanalysis, philosophy and everyday culture. West plays with the idea of ‘everything’ as a totality of contradictory moments: collective experience versus individual evasion, formal rigour versus material improvisation. The use of cardboard as a painting surface is not only pragmatic, but also programmatic: the profane is elevated to art, the ephemeral becomes the bearer of existential questions. ‘Alles‘ (tutti) thus refers to its central artistic question: what is art, who makes it and how does one encounter it? The work thus appears not only as an aesthetic object, but also as a space for thought that allows for a variety of interpretations.