A broad, loosely constructed platform of raw lattice and boards stands chest high at the entrance to the gallery. On it are grouped many hand-sized pigment-objects—layered polychrome cloth rectangles; squares poured in strict geometric layers; massive shards of color attached with paint to small cumbersome lump-complexes—and seeing them at this angle affords a distanced overview of them without diminishing the sense of their physical presence. As one’s gaze moves along the lined-up or overlapping elements, it becomes increasingly clear that this large untitled installation, 1999, serves one