The inventory is comprised of about 450 sculptural works of the artist from his entire creative development from 1955 until his death in 2004 and in the most versatile media: clay, iron, plaster/ Styrofoam. Additionally, there are numerous drawings, gouaches, and India ink drawings as well as sketchbooks of the artist. Parallel to the three temporary exhibitions per year, one can view the sculptures and drawings of Fischer, which document exemplarily his versatile working periods, in different rooms. It is planned to redesign the Lothar Fischer exhibition rooms in their entirety every four to five years. For a monographic artist museum it is important to stay lively. Therefore, different works will be shown continuously in correspondence with the special exhibitions. In 2012, an inventory catalog of the sculptures will be published in connection with the new edition of the catalog raisonné.

The earliest sculpture in the museum’s possession is a self-portrait from 1955, which Fischer created during his studies under Heinrich Kirchner. As a co-founder of the artists collective SPUR (1957 – 1965) he found his expressional independence. Works such as “Fetish” show the bond to Art Informel, while “Salome II” from 1961 broaches the issue of a regression to the emotional space-consuming wall and ceiling frescos of the Baroque. The relief “Wagenlenker” (“Charioteer”) is one of the main works of Fischer and it is the only exhibit which is permanently mounted in a wall alcove. The museum’s inventory also consists of important SPUR-sculptures such as “Romeo und Julia” (“Romeo and Juliet”), “Bewaffnete Kanne” (“Armed Jug”) or “Eva” (“Eve”). Works from 1966 like “Mädchen im Bad” (“Girl in Bathroom”) or “Große Tube” (“Large Tube”) explicitly show the involvement with Pop Art. The shells of the tube forms from the years between 1969 and 1974 almost consequentially seem to develop as a sculpturally independent and living form. The sculpture “Spanische Schwestern I” (“Spanish Sisters I”) is from 1970; due to its delicate 1982 ornamental painting it has an almost singular meaning amongst the clay sculptures. One of the most productive work phases follows in the mid-1970s and numerous large sculptures are made.

Beginning 1985, Fischer’s works lose their austerity and in the mid-1990s he discovers the artistic diversity of variation. Organic forms, archaic austerity and playful elements are connected to a continuingly new sculptural entity, exemplified by his “Enigma Variationen” (“Enigma Variations”). Out of plaster / Styrofoam he fabricates the “Hohe Eva” (“Elevated Eve”), which he already created with the museum in mind. She is one of the few sculptures, which has a designated place in the museum in an alcove at the end of the stair case leading from the first to the second floor.