The Chicago-based artist, Martin Puryear, finds his voice in masterful and monumental sculptures. His fascination with biomorphic form emerges in this drawing. Rough, organic contours and hair-like charcoal flecks compose the imprecise perimeter of the solid black shape. The torso-like configuration of this form suggests the body. Its formal undulation transforms an otherwise flat, monochromatic composition into a portrayal of suspended energy. The allusion to movement so apparent in Puryear's three-dimensional works is here expressed by a thrusting presence, poised to burst upwards.

In his paintings, drawings, and prints, Terry Winters investigates the relationship between nature and process, and the organic and the technological. His earlier drawings explore biomorphic shapes, infusing them with mysticism. This image, characteristic of his later work, engages human biological systems and the electronic structures we create. This curvilinear form, with its synapse-like strands, conveys a sense of natural animation. At the same time, it recalls a black-and-white world of technological data flowing through incorporeal space. Process is emphasized throughout, evident in the smudge marks lingering on the page. The outlined form in the lower left appears as a shell of the past life of the more intricate form above. By exploring intersections between biological function and technological systems, Winters invites a dialogue concerning technology and human identity.

Helping to revive painting as a medium in the 1980s, Elizabeth Murray created shaped canvases that challenge divisions between painting and sculpture, and between high art and cartoons remembered from her childhood. Her work is notoriously hard to categorize. While she uses "homely" imagery such as flatware or shoes, she resists the suggestion that her work comments on gender or domesticity. Murray's work, while dynamic and replete with saturated color, is unlovely in its willful lack of sophistication. Her torqued and fractured forms propel us to examine the objects we take for granted.

In Pink Chair, Murray calls into question our personal possessions and our relationship to them, by presenting the familiar form of a chair as though it has outgrown the space provided for it. Struggling against the walls and ceiling, the chair is at odds with its surroundings and function: the legs swing out from under the seat, dangerous to whomever may wish to repose.

Gabriel Orozco, a conceptual artist, works in a wide variety of media, including sculpture, installation, painting and photography. He transforms banal objects and settings into compositions of lyrical complexity, dense with meaning. Chance encounters between the artist and the world translate into encounters between viewer and artwork, distilling and transmitting the aleatoric poetry of the everyday.

Parachute in Iceland (South) is part of a series that Orozco produced in Iceland where he released parachutes in isolated areas. The improbable juxtaposition of the landscape and this silky, flower-like form, refutes interpretation, yet expands the viewer’s contemplation of translucency and weightlessness in a barren field. Without a predictable narrative framework, the viewer engages with an esoteric pictorial vocabulary that alludes to the infinite.

Without commitment to a specific medium or signature style, Gabriel Orozco chooses the term "immigrant" to describe his process of image collection. This word-choice positions him in opposition to a modern economy that is speculative and technology-based, creating immense and invisible wealth for a small elite transnational class.

The antenna and satellite dish in Orozco's 1998 photograph, Satellite Ball, indicate an impulse toward modernization, while the dilapidation of the fence, building, and basketball hoop underlines a type of cultural obsolescence. The shadows in the foreground give way to sunlight on background cliffs, betraying our sense of perspective and scale. The ball that hovers above the basketball hoop offers a similar disorientation. It is ambiguous, yet emblematic. Perhaps it has been shot towards the basket, perhaps it has been launched into the bright and infinite sky. It is, at once ludic and planetary, common and exceptional.