With the display "Daswald," Antwerp 2004 and the project "Lookout," Tienen 2005, he emerged from creative isolation. The "Lookout" project involved the construction of a hunting pulpit with students from a technical college. The shooting platform is constructed to a very high standard and placed in a pedestrianized shopping street. This project was conducted in close collaboration with the writer, the curator, the artist, the students who helped him build the hunting pulpit, as the spectator. Weidenbaum interacted with the different locations: the pedestrianized shopping street, the gallery, and the museum with which Weidenbaum tears them out of their context. The students who constructed the hunting pulpit with him, became part of his artistic process. He extracted their activity out of the school structure and involved them in his creative activity. Curator Sven Vanderstichelen had this to say about the "lookout out of the box": "the ‘lookout’ project is not merely an installation, a video, a sketch or a painting. It's a search for what Peter Weidenbaum so aptly names as ‘the inner forest.' The place where every interactive process between the outside world and the self is getting interpreted." In 2006, at the request of Het Beschrijf, Weidenbaum collaborated on an artistic project "Poëzie" in the city of Brussels. Using the title 'Passing by,' Peter Weidenbaum developed a multifaceted symbolism that corresponded to his artistic expression. He described his intervention as an infiltration in the Montgomery district and creates a walking route where his paintings of recognizable city scenes are shown in surprising locations. It demonstrated the picture of a dignitary in a night shop and a painting of an independent immigrant in the embassy. This provided food for thought for the inhabitants of the district. He published a newspaper where the painted cityscapes show in combination with a poem by Agnieszka Kuciak, a Polish poet and different interviews with local inhabitants. This congruence of systems of signs finalized with a sculpture on Montgomery Square. He designs a very high lifeguard chair in stainless steel on a concrete slab in which one may read a poem of Kuciak. This is a symbolic gesture, where Weidenbaum invited the accidental passer-by to view the city from a bird's eye view, to reflect, to take distance, to integrate a moment of peace. Another work of Weidenbaum is the artistic alter ego of the car. This damaged bronze vehicle, transformed by the artist into a sculptural aesthetic form is full of references. Transformed into an immobile piece of art, the euphoria of speed puts into question, and only the metaphor remains. For some, it is a status symbol, for others an extension of their ego, which gives them the illusion of freedom and individuality. (Flor Bex, Honorary Director
MUHKA about "alter ego"). In 2006 Weidenbaum commenced a series of paintings named "Out of the series Car Crash." This resulted in the monumental sculpture "Alter Ego" in 2008. It is at that time that the artist begins producing artistic integrations within the architecture of public buildings. 'Green Velvet' in the Children's Psychiatric wing of the UZ Jette and 'Landscape' in Saint Agatha Berchem, in a children's day car center are both good examples of this. In both works, several universes intermingle. An abstracted landscape was reconstructed in a public space. In a very urbanized environment, this became a landmark, an oasis for young residents. ==Collections==