With Shingles (2011), for example, Carl Andre's floor - based
metal works meet their working - class counterpart, as copper plates are exchanged for patterns of overlapping asphalt roofing tiles; Siding (2011), meanwhile, replaces Donald Judd's
shiny metal cubes with the work's namesake — and very plebeian — exterior vinyl wallcovering found on many a tract house; and by simply lifting a marble countertop off the bathroom sink and onto the wall, Counter (2012) proves that even the slightest of gestures, such as a change of orientation and context, can render foreign something familiar — the everyday as convincing art
object.