As G. Lemmens, the museum director states in his Foreword to the excellent bilingual, fully illustrated exhibition catalog, the museum had intended to organize an exhibition with Mihai Olos' 1976 "Progressions"(Rosturi) in 1987.
Besides a presentation of the artist, the first section of the catalog contains the Dutch and German versions of Mihai Olos' article "Between Maramureş and Brâncuşi" he had written for the Centenary.
Hans van der Grinten's comments on the exhibits – a selection of the artist's best sculptures (46 pieces) and paintings (37) illustrating also his concept of the Universal City, stressing their connection both with the culture of his native county and the art of his great predecessor.
The exhibits were a prof not only of the visual beauty of his work, but gave a real insight into the possibilities of future development of his project for what he called his Olospolis.

Due to the historical events that occupied people and the press those days – the fall of the Berlin wall in November, the dissolution of the Soviet block and the revolution in Romania in December – Olos' show in Nijmeeg had just a feeble echo.
The artist had to return in his home-country without having the opportunity to enjoy the success of the exhibition.

Work in Germany – Shows Abroad (1992–2015)
By the end of 1992, after an enthusiastic episode of involvement in politics in support of the National Christian Democratic Peasants Party, utterly disappointed of the outcomes and discontent with the situation at home, decided to settle in Germany, though not giving up his workshop at the painters center in Baia Mare.
But as his friend Paul Neagu had told Olos' son Constantin visiting him in London, the idea to settle in a village in south-eastern Germany, rather isolated from the great art centers, was not the best place for the artist to make himself known.
With all the previous success he had had in Germany, paradoxically, an overview of the artist's portfolio of the following decades seems to show that Paul Neagu had been right.
Not that the artist did not continue his work.
But he lacked the contact with his many friends and admirers from his native country.
Therefore, he used to return in Baia Mare from time to time, continuing to exhibit at the regional shows and collaborating with articles in the local papers and literary magazines in the country.

Following his decision to stay and work in Germany, Olos married his longtime supporter, translator and secretary in Germany, Ms Helga Fessler, graduate of Romance languages at the University of Freiburg, whom he had first met in Romania during the seventies.
He continued to work on his project realizing other modules of smaller dimension.

Adapting to the new technologies, he learned computer design and this made him pass to the practice of digital art.
Nevertheless, this was actually continuing his experiments with the module in another medium.
Besides, especially when his health began to decline, the medium he adopted was paper, creating a great number of origami-like small modules.
As G. Lemmens, the museum director states in his Foreword to the excellent bilingual, fully illustrated exhibition catalog, the museum had intended to organize an exhibition with Mihai Olos' 1976 "Progressions"(Rosturi) in 1987. Besides a presentation of the artist, the first section of the catalog contains the Dutch and German versions of Mihai Olos' article "Between Maramureş and Brâncuşi" he had written for the Centenary. Hans van der Grinten's comments on the exhibits – a selection of the artist's best sculptures (46 pieces) and paintings (37) illustrating also his concept of the Universal City, stressing their connection both with the culture of his native county and the art of his great predecessor. The exhibits were a prof not only of the visual beauty of his work, but gave a real insight into the possibilities of future development of his project for what he called his Olospolis.
Due to the historical events that occupied people and the press those days – the fall of the Berlin wall in November, the dissolution of the Soviet block and the revolution in Romania in December – Olos' show in Nijmeeg had just a feeble echo. The artist had to return in his home-country without having the opportunity to enjoy the success of the exhibition.
Work in Germany – Shows Abroad (1992–2015)
By the end of 1992, after an enthusiastic episode of involvement in politics in support of the National Christian Democratic Peasants Party, utterly disappointed of the outcomes and discontent with the situation at home, decided to settle in Germany, though not giving up his workshop at the painters center in Baia Mare. But as his friend Paul Neagu had told Olos' son Constantin visiting him in London, the idea to settle in a village in south-eastern Germany, rather isolated from the great art centers, was not the best place for the artist to make himself known. With all the previous success he had had in Germany, paradoxically, an overview of the artist's portfolio of the following decades seems to show that Paul Neagu had been right. Not that the artist did not continue his work. But he lacked the contact with his many friends and admirers from his native country. Therefore, he used to return in Baia Mare from time to time, continuing to exhibit at the regional shows and collaborating with articles in the local papers and literary magazines in the country.
Following his decision to stay and work in Germany, Olos married his longtime supporter, translator and secretary in Germany, Ms Helga Fessler, graduate of Romance languages at the University of Freiburg, whom he had first met in Romania during the seventies. He continued to work on his project realizing other modules of smaller dimension.
Adapting to the new technologies, he learned computer design and this made him pass to the practice of digital art. Nevertheless, this was actually continuing his experiments with the module in another medium. Besides, especially when his health began to decline, the medium he adopted was paper, creating a great number of origami-like small modules.
Mihai Olos