In the oevre of Jochem Hendricks knowledge becomes an intensely cultivated and frequently used tool to create art. Knowledge in this context does not refer to education or a thorough preparation of the exhibition on the spectator's behalf, so much as the playing off of implications between mere being and glossy deception, the discrepancy between appearance, the image of the work itself and the secret it holds, it's essence. This concept is well illustrated by these particular works. The formal appearance of the three pieces seems to be modest at first glance, yet once the spectator discovers the title of the work, by reading the label or the pricelist, and finds out what is inside these containers, the work gains a compltetely new meaning and resonance. No one is indifferent to one million tears. Questions are raised at the very least, if only the one concerning truthfulness underlying the assertion that these containers realy do contain what they want us to believe.