A mysterious sound carpet of tones shimmers over the long valley at Kloster Grafschaft abbey. The whispers from the woods and meadows are joined to mystical sounds which seem to have a natural origin, and yet are so unfamiliar. Their secret disappears only when you are directly in front: They emanate from the sound sculpture "Over the Ponds", a circle of tall copper pillars which the artist Andreas Oldörp has constructed according to the principles of organ pipes, and has installed in the Bremecketal valley. Sound, sense, and feel show the rambler the way to enjoyment of art in the natural openness of the wooded valley.

Nature is in charge here: „Blinker II“ is a light-kinetic sculpture which consists of a 1000 by 1183.5 cm steel structure with 196 movable mirrors made of polished stainless steel, each measuring 50 by 83 cm. The individual panels as well as the total area of the lamella wall with a size of 719.5 by 1183.5 cm have the proportions of a standard cinema screen. On them, the elements of nature, light and air, the sun and the wind, heaven and earth, give a waving and blinking performance in an atmospheric spectacle of nature of dazzling array (similar to the Cuxhaven tidal object „Blinker I“ created in 1982 which consists of mobile mirrors swimming in the water).

Chimneys which project from the forest floor, a weather vane, gates made from large oven forks, and a giant inverted witch's cauldron made from opened books of spells - in a small valley surrounded by paths - Lili Fischer fills the location always known as the "Witches' Place" with the leftovers of a supposedly lost witches' village. Her work bears witness to the legend of witches, and transports ramblers into a world of fairytales and magic. However, at the same time, it also draws attention to the gruesome persecution of people during the time of the trials of witches: At the other side of the hollow is the "interrogation place" where suspected witches were once condemned to death.

"AN EXCESSIVE POWER COLLAPSES UNDER ITS OWN WEIGHT". This quotation from Martin Luther decorates Heinrich Brummack's 7.50m high "Der Krummstab" (The Crosier), which has the appearance of being unstable in form. The crosier is one of the insignia of a bishop of the Roman Catholic church. In 1072 it was awarded to the Benedictine abbey Kloster Grafschaft as an emblem of care. In the course of the centuries, it increasingly became a symbol of the power of the Church. With the confiscation of church possessions as part of the secularisation in 1803, this temporal influence - and with it, the abbey's crosier - were lost. 2,613 kg of aluminium were processed to create the sculpture, which on the path between Schmallenberg and Bad Berleburg forms a landmark conspicuous from afar. HONSEL GMBH & CO. KG, a company from Meschede, made the 2,613 kg of AlMg3 aluminium available free of charge.

Ansgar Nierhoff's steel sculpture "No Easy Game to Play", almost 4 metres in height and weighing 64 t stands in the middle of the wood on the Rothaar ridge as a surprising symbol of the conflict between the territorial, linguistic, cultural, and religious separation of the Sauerland and Wittgenstein regions over the centuries. A solid steel wall is broken into a large central gate, two smaller gates, and two blocks. The observer can see that: all parts match each other, create an Inner and an Outer, and encourage access. The dialogue between the individual forms of the sculpture is multiplied by the dialogue with the space surrounding them - nature. This contrast enables discoveries, comparisons, and recollections, different for each visitor. The location characterised in this way, close to a crossing of routes on old borders, makes ramblers participate in the commonality of the once separate regions, and in the overcoming of boundaries.

The sculpture "Stone-Age-Man" by the artist Nils-Udo almost has the effect of an ancient temple: In the middle of the wood is an enormous cube of rock framed by a monumental architectural trunk form. The quartzite monolith weighs in at almost 150 t and, integrated into the peaceful grandeur of the forest, it forms a monument and memorial in its own right: its size, its timeless association with the earth, and its uniqueness. When exposed to this powerful entity, the rambler experiences his own temporality and vulnerability.

"The Green Station" is a bright green house, very modest architecturally, which has completely grown into the surrounding habitat. The sculpture was conceived by the artist Gloria Friedmann, who has made nature and the relationship between man and nature into the subject of all her work. Through the tangled green of the woodland, the little house closed on three sides appears to be a monochromatic symbol, on approach to be a sculpture, and to be a shelter for a rest when you are in front of it. This impression is increased by the rustic and simple installation. As a refuge in a thunderstorm, however, the Green Station is not recommended: The rendering and structural panels are supported by a solid steel frame. The company EJOT Baubefestigungen GmbH from Bad Laasphe undertook the sponsoring for the installation of the sculpture and the coordination of all building activities. In addition, the company made personnel available for the installation, as well as bolts and fastening equipment.

Only from a bird's eye view is it possible to fully comprehend the 44 x 28 m "Monument of the Lost Falcon". The New York artist Alan Sonfist has modelled the silhouette of a hovering falcon using earth walls in a clearing in the Wittgenstein forest. The earth walls suggest the defensive mounds of the Celtic fortifications in the immediate surroundings, and were planted with tree species which used to dominate the woods in the region, but which have been supplanted through man's activities. Sonfist uses the fencing which follows the silhouette in order to protect his work symbolically from man and beast, who have often irretrievably caused the primitiveness of nature to be lost for ever, either from human intervention or from grazing.

The artist Magdalena Jetelová symbolises the creation of life, and its eternal cycle with a golden egg, about 6.5 m in height and around 4 m in diameter. The egg's size and the reflections of light shape its presence so that it has the effect of an initial element and prototype of life in the landscape, of which it becomes a part. Reduced to what matters, it becomes a symbol and allegory of nature, the creator and maintainer of life. A foundation of reinforced concrete was created as a firm base for the statue, and the stability of the sculpture itself is provided by an internal steel skeleton. The surface consists of synthetic and cast resin with a fibreglass inlay, and was modelled using the lamination process in the workshop of Magdalena Jetelová before being coated with gold leaf.