Name-drop the word ‘space’ in a conversation with an artist, and you’ll be in their good books. That, though, is about as far as a conversation on space can go. Just the one word — space — and nothing more. It has been that way for more than fifty years, since Minimal art’s introduction of ‘actual space’ in the 1960s. It is important—curators, writers and art history lecturers keep telling us. It is historically significant. It is paradigm changing. Yet few can tell us how space works and what its differentiations are. The Missing Space Project aims to redress this lapse in recognising differentiated space in art. These six interviews debate its lack of recognition, the cause and the contemporary necessity of recognising differentiated space in this The Missing Space Project’s first stage. The six interviews are with (in order of appearance): curator Marianne Stockebrand (in Berlin), Minimal art collector Egidio Marzona (in Berlin), Minimal art anthologist Daniel Marzona (in Berlin), art historian Gregor Stemmrich (in Berlin), art historian Richard Shiff (in New York), and curator Renate Wiehager (by correspondence)—with an introduction by Minimal art expert David Raskin.