Comprised of 55 drawings all done between 1990 and 1992—51 of which were pushpinned directly onto the gallery wall—this exhibition documented Laurie Fendrich’s incessant investigation of the possibilities of geometrical abstraction. Done as models and studies for potential paintings, Fendrich’s drawings took a kind of sustenance from their sheer accretion; there seemed to be no need to focus too deliberately on any one image in particular, and this multitudinousness provided an attendant balance. She presents infinite combinations and recombinations of inventive polygonal shapes that parallel