In no case can one pull oneself out of this affair with ignorance by not noticing the fixed culture historical guidelines. Therefore I come back to the ever since centuries fixed symbolism for those retail supports and the plants for sale.
The iconic motive of Mary in a closed-in garden goes back to an interpretation of the Song of Songs of the Old Testament. There it says: My sweetheart, my bride, is a secret garden,  a walled garden, a private spring;" (song of songs, 4,12) Plants which can certainly be found in those paintings are: Columbine Flower, strawberries, Violets, Iris, Lily of the valley and Lilies of course.

The Columbine Flower is known to be a sign of meekness and worship. One has seen in it also symbolized the sorrows of the Virgin Mary, as one saw the abbreviation for melancholy in the French name "Ancholie", but certainly also factually in the hanging head. At the same time the Columbine Flower symbolized potency. To give a bunch of Columbine Flowers to a young woman in the 17th century was seen as very indecent because of the sexual symbolism of the plant.
Strawberries are a symbol for worldly lust, of enticment and sensual pleasure. These are plants with flowers that have a rose shape, that have no thorns, their berries are without cernel and shell and that flowers and fruits at the same time.
Violets (Viola) stand as symbols for content and meekness for the uprights. But the fruits also symbolize sensual desire.
The "White Lily", the Mary Lily stands for the inocence, in christian ikonography hence especially for the Madonna.
The Lily of the valley stands for purity of the soul and meekness, still again for inocence of Mary and the eternal welfare in Christ. The medical heart-strenghening effect of the Lily of the valley was known. The physicians of the 16th century chose it therefore as their professional emblem. It was easily called then "salus mundi" - welfare of the world.

These are all agreed-upon hence apparent sense connections which on top are always nicely ambivalent in themselves and open all gates for shop-talk which then garanteedly 
has nothing to do any longer with the subject, in this case the exhibition. That beyond the illusion one can become allergic from all these plants - especially strawberries and lilies - and that one should not put a baby into a field of Lilies of valley is not made a theme of art history. As little as one can normally notice the sound of stressed plants that Susanne Bartsch presented here which now though should be imagined as for our ears audible pain of those plants inside the water buckets.

Those sounds are irritable  and .... to know that these plants cry and whince whilst they die - cause that is for sure: they do die - but do they also feel pain? And how could this be made possible to experience for us, or is the sound definite? - Probably not, because even when interpreting melodic or discordant sounds we are dealing with agreements. Well, this acustic information can be stored in the brain on the same level as the information that cows give more milk if exposed to sounds of Mozart compositions. It is strange if not even convincing but does not truly touch us as neither with cows nor with plants do we have a relationship which could be compared with the social  connections amongst people and for which we have developed so fantastic methods of comunication in which given bunches of flowers play not an unimportant role - but not as sign of highest torture.

In the basement you can hear the highly artificial song of m.c., which touches us more likely, anyhow it is not forbidden to cry in the opera whilst flower heads of white and violet Callas are exchanged and glued back on and certainly emit some howling which cannot be heard by us though. We hear the sound which happens when the stems are ripped off in combination with a soprano aria of a Puccini opera.
To rip apart bunches of flowers is an attack at the illuisionary of the symbol of the plant and at what it symbolizes as well as an openly agressiv act, beyond symbolism. The re-glueing afterwards closes the circle which I described in  many words in the beginning: One has to submit to the artificial, to the singing of Maria Callas, the illusionary of every expression - the fact that symbols are not easily harmed. Also - and particularly when one rips off their head one inaugurates them renewed in their symbolic power.
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