Geers examines the connection between conceptual and political art in ways that often appear controversial. He has performed a range of symbolic and concrete actions, which can be understood both as gestures of direct political resistance and as attempts to appropriate conceptual artmaking traditions.

Geers has developed a visual vocabulary characterized by provocation, humor, and violence. The use of found objects such as the balls and masks included in this work, or of barbed wire, neon lights, or glass shards, reveals the crucial role of ready-mades in his work.
The series “Masked Balls” carries an ambivalent massage. Are we innocently kicking balls and joyfully participating in a game, or does this action transform us into barbarians maliciously bouncing around severed heads? Geers leaves the task of interpretation and the related conflict to the visitor, thus making him into an active participant involved in performing a morally charged action.

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