[3] Förg's artistic oeuvre encompasses paintings, graphic and sculptural works as well as a great body of architectural photographs.

[3] In the early 1980s, Förg made his so-called Alubilder – assemblages of aluminium sheeting onto which the artist had painted linear patterns or portrait photographs.

For this purpose he travelled extensively to Spain, Israel, Austria, Russia, France, Turkey and Italy where he primarily photographed Bauhaus buildings.

[1] Förg's photographic research using a 35 mm camera and zoom lenses presents the uncompromisingly modern architecture in an unembellished way, sometimes dilapidated, often featuring careless renovations or additions.

[8] His photographs of buildings with cultural and political significance — Bauhaus structures in Tel Aviv and Jerusalem, for example, or Fascist ones in Italy — were taken from unusual, sharp-angled perspectives, with off-center framing and often in grainy focus, suggestive of painting.

[1] In 1988, as part of the Sculpture in the City exhibition, Förg installed two-metre-long walls of mirrors in a Rotterdam tube station; they were demolished in 1999.

The roots for these pieces, however, are to be found in an earlier series, the so-called "Fenster-Aquarelle" (window watercolors): the crossbar forms a grid for the space in the image, which provides the frame for a whole flow of paintings without limiting their free display and development.

For this project Forg handled the color design for all of the interiors in the 1920s Villa Bodmer and installed two enormous tubes of raw metal in its central entrance hall.

According to Artinvestor Magazine (2009), Förg ranked 23rd globally amongst then living artists when several factors are combined, such as collections, auction results and gallery representation.