In 1966, Ron Gorchov decided to ditch the woefully rectilinear confines of painting’s traditional support in favor of something more curvaceous. A year later he came upon the ideal form, one that would become his signature—the “saddle.” Geometrically speaking, these saddles are hyperbolic paraboloids, a kind of conoid used frequently in architecture for its stability or, alternatively, in the design of Pringles potato chips for their stackability. (Coincidentally, this quintessential American snack food hit shelves the same year Gorchov began working with this unique structure. The mind wanders.