Elizabeth Murray’s works of the last seven years are composed according to contradictions. With most of them constructed of multiple canvases, usually in layers, the format is neither painting nor sculpture but a little bit of both. Images are often fragmented like puzzle pieces, but the parts never really fit together to make a synchronized whole—the temptation to mentally fit the square peg into the round hole is always present. And as a further complication, although these works might initially appear to be abstract, they are always filled with imagery—sometimes obvious, sometimes not. Some