The title «Welt ohne Außen», which was invented for an exhibition developed in Berlin’s Gropiusbau, refers to a concept and an experience of a situation that is not characterized by distance and juxtaposition, but by an experience of immersion and a situation at the center of the action. Immersive art concepts often take the place of dialectical mediation concepts that shape our logic of viewing through the classical institutions because they subdivide the world into objects and subjects, a concept of inclusion, feedback, and reciprocal interpenetration. What happens when things in an exhibition are no longer certain, when the theater is no longer about conflict and resolution, cause and effect, but the discovery of a landscape of simultaneously existing possibilities and particles of a narrative scattered in space? What does the concept of immersion mean for the format of the exhibition and performance? How does it change the way an institution works and the demands on its infrastructure? How does it change the relationship between work and format? And what comes into view when the phenomenon »immersion” is understood not only as an aesthetic, but also as a social and spiritual phenomenon and is artistically examined?