[7] In New York, Muthesius sketched soaring room perspectives and architectural highlights, particularly of the World Trade Center.

[14] Stars of David, beaten in with an axe and a chainsaw, explore the expulsion of the Jewish communities over the centuries as a reminder of the need for respect.

[17] Muthesius has focused to monochrome images in gold, such as the Golden Fields (the tabula aurea in the State Collection of Antiquities and Glyptothek, Munich) and Der Himmel unter Berlin, since 2002.

Jörn Merkert [de] wrote about Brandenburg Gates:[23] Again we encounter the contradictory nature that is so characteristic for Winfried Muthesius’ attitude which we have already illustrated in numerous contexts; this time in the simultaneousness of the conscious and unconscious.

Or in the state where unambiguousness and precision in architecture in his art of painting is described with transparent, mobile means ... On a spiritual level, he shows an entirely different territorial set – a terrain where he was the first to have researched it and the international abstract expressionism has not yet explored.Christoph Tannert [de][24][25] wrote about Star:[26] With this series of pictures, Muthesius has created a commemorative series which requires emptiness, for it intends to demonstrate something that has been removed from the German cultural circle after all the racist violent attacks that are still occurring in Germany ...

The striking of the axe thematises past and present violence ... Up to now, the material bitumen is associated with something like burning asphalt and burnt soil.

His cross is presence, no reference, and thus obtains ancient ecclesiastical traditions which have long been forgotten in the historical concoctions which are presented to us in a lot of the pieces found in new "church art".Thomas Sternberg [de] wrote about Golden Fields:[28] They are no elaborate installations but unexpected, quiet interventions in public space.

As Joseph Beuys once put it: "The mysteries take place in the central station".Christoph Tannert wrote about Pittura Oscura:[29] The incorporated photographic images, of course, refer to places which can be clearly identified ... Muthesius has in mind not only discontinuities, he celebrates them ... Muthesius puts his finger on the sore spot of the inadequacy, knowing that the essence still needs to happen.