Other solo exhibitions include Serpentine Gallery (2006), London, the Irish Museum of Modern Art, Dublin, the Fondazione Prada, Venice (both 2007), and the Fondation Cartier pour l'Art Contemporain, Paris (2001).

[4] Having studied sculpture under Fritz Schwegler at the Kunstakademie Düsseldorf alongside Katharina Fritsch and Thomas Schütte, Demand began his career as a sculptor.

[7] The life sized models are highly detailed, yet they retain subtle but deliberate flaws and anachronisms, such as an unnaturally uniform texture; according to art critic Michael Kimmelman, "the reconstructions were meant to be close to, but never perfectly, realistic so that the gap between truth and fiction would always subtly show".

While the works' titles – Studio (1997), Zimmer (Room) (1996), Treppenhaus (Staircase) (1995) – are studiously devoid of superfluous information, the subjects represented in Demand's photographs often relate to pre-existing press images showing scenes of cultural or political relevance.

Later in his career Demand turned his interest towards the political world: Podium (2000) represents the location where Serbian dictator Slobodan Milošević gave his Gazimestan speech on the occasion of the 600th anniversary of the Serbian defeat by the Turks;[12] in Attempt (2005), Demand has reconstructed the studio of an artist whom Baader-Meinhof terrorists targeted in the 1970s in order to blow up the Karlsruhe house of the state's prosecutor next door;[13] Kitchen (2004) is based on soldiers' snapshots of the compound near Tikrit where Saddam Hussein was captured.

[14] Demand's series Yellowcake (2007) portrays the Nigerian Embassy in Rome, the site of a burglary in January 2001 that was used to prove Hussein's attempt to purchase uranium.

[15] More recently, the photograph Kontrollraum (Control Room) (2011), for instance, purports to show the interior of the Fukushima Daiichi Nuclear Power Plant during its tsunami-induced meltdown.

[22] Furthermore, every trace of language has completely vanished: the papers strewn across the work table and floor in Büro (Office) (1995) have no text on them; the labels next to the doorbells that are the subject of Hinterhaus (2005) are variously colored but bear no names.

[28] In Rain (2008), Demand painstakingly re-created the effect of raindrops falling onto a hard surface, using cellophane candy wrappers and a sound track of eggs frying.

[16] In 2010, the Nouveau Musée National de Monaco entrusted Demand with a role of guest curator for “La Carte d’Après Nature”, the opening exhibition[32] of Villa Paloma, Monte Carlo.

A modified version of this exhibition, which used Surrealist painter René Magritte as its theme and included films, photography, soundworks and architectural models from the 19th century to the present,[33] later travelled to Matthew Marks Gallery in New York.

Demand and Caruso St John won a competition in 2008, launched by the city of Zurich, to redesign the Escher Wyss Platz; however, the project was rejected in a public referendum in 2010.

[37] Caruso St. John also worked on Demand's 2009 exhibition at Berlin's Mies van der Rohe designed Neue Nationalgalerie, where an installation has been purpose-built specifically for the show.