Set on a slightly curved line, the unequal-height columns repeat the outline of the façade of the school in front of which they stand. They create a suggestion of an unfinished (or destroyed) colonnade or garden pergola, differentiating the rhythm of the building's simple façade. The smooth texture of the concrete of the individual columns is varied by the small holes/chips scattered throughout, sometimes resembling the outlines of human silhouettes. This motif recurs in Broniatowski's work, lending expression, for example, to his monument to deported Jews at Berlin-Grunewald station. Similarly, the problem of multiplication, the repetition of elements, has occupied him almost from the beginning of his work. Here, however, it appeared in the context of Albert Einstein's theory of relativity, after whom the school is named. Variations on the theme of similarities - apparent - and differences - faintly perceptible - of various forms and phenomena impose a subtle grid of meaning on an - apparently - purely decorative spatial installation, diversifying the school's surroundings. Here, more clearly than in Broniatowski's other Berlin works, his artistic roots became apparent, references to the experimental studies on space conducted in the studio of Professor Jerzy Jarnuszkiewicz at the Warsaw Academy of Fine Arts.

Several large-scale sculptures and installations, as well as paintings by contemporary German and foreign artists, including the group 'We of the 20th century' by Pole Zbigniew Frączkiewicz, were erected in the area around Einstein High School and in its interiors. These make up the school's content-ambitious programme, in which the latest work of various media is intended to stimulate questions, to stimulate reflection, and the presence of artists from different countries contributes to inclusive thinking.