Antoni Abad’s recent pieces exhibit the same concern for movement as his preceding work. Indeed, his exploration into the essence of movement predates his abandonment of painting for sculpture and informed his “plaited paintings,” 1983, which marked the transition from one medium to the other. The meeting of material and form provokes syntactic reconstruction of the combinatory process; in this respect, the viewer can contemplate and observe movement’s ability to change or transform passive material into active material. As is the case with the conjugation of time and space, or movement and