Both bodies of work address
the bifurcated history of abstraction, in which some geometric forms (like those found in painting and sculpture) become canonical, while others (in weavings, in children's educational projects) are considered incidental to art history.
Bifurcated into the colors
of white on the first floor and black on the second floor, the exhibition continues the artist's formal inquiry into painting,
abstraction, and performance with a discomforting social critique
of American
histories, injustices, and structures
of power.