In his solo-exhibition of 2010 in this space he placed his artistic attention on the reflection of his cultural experiences in China. It is a bringing together of work that not only individually makes reference to previous artistic interventions in Shanghai‘s public spaces, but also collectively presents a chronological document according to his personal development. The basis of these observations are two trips to Shanghai in 2008/9 and 2010 and thereby his continuous working toward an artistic interaction of individual thoughts. Bayer finds his works to be simple statements, which open the path of communication through their specific degree of abstraction. In this exhibition in case of existence, works from the exhibitions God Forgive Us (Shanghai 2008), Shanghai Review (Weimar 2009), The Rise of no Revolt (Shanghai 2010) and M120 - Moganshan re-used! 莫干山路120再创造！(Shanghai 2010) present material compositions relevant to social processes, which, for Bayer, create tangible metaphors with regard to not only universal but also specific human behaviors: Concrete, steel and coal are identified as elements of civilization, animals – living or dead – as organic components of a closed environmental cycle and found objects as clues to often hidden cultural and social reality. One of the most basic thoughts of this exhibition is the motivation and central focus of probability as a starting point. Existence as a belief and a justification sets the framing context for the conceptual construct, which itself is based upon aspects of ecological sustainability, criticism on capitalism and social interaction.

Back to Ground (coal briquettes laid as flooring) is an over the top plea to leave the raw materials in the place from where they came. Observing Systems can almost be understood as a symbolic manipulation with documentary-like approach, which finds its artistic expression in the cold observation of the system. Proving existence is to be undertaken in the sciences, studying it belongs to observation. Examining human behavior, questioning it and reflecting upon it is the focus of Bayer‘s work and determine the found objects such as A Matter of Time, The Way it works or Carbon Unit; which are all readymades determined by the conditions and states of society. The presentation of these everyday things estrange them according to their method of presentation, and thereby allow these mass-produced objects to be perceived as vehicles of their own narrative characteristics. In this sense, consumption becomes a necessity of modern human interaction as well as a self-destructive challenge to be negotiated. In such an artificial and perplexing world people need exemplary models, idols that set an example of doing or seeing things differently.
The possibility of art to intervene and separate the idol into its layers of semantic construction is a potential of the contemporary arts scene, which, for Bayer, is used as a tool extending his perception and action.