Curated by Ben La Rocco.

These are the artists in Corpse of Time. Though they share sources of inspiration and, at times, superficial aesthetic resemblances, their various brands of abstraction present inversions of one another. It is only as a group that we begin to define the structures of which we are a part.

Patrick Armstrong is an abstract painter who defines his reductive paintings as “objects.” Their impenetrable white surfaces, the product of intensive layering and sanding, simultaneously invite and defy deciphering.

Morgan Croney uses algebraic mathematics to generate form. Tautological in essence, his work’s hallmark is its incorporation of the circuitous equations that dictate its form.

Linda Francis makes paintings that describe nature through a deep understanding of physics. In this sense, their complete abstraction is an argument for how thought might structure representation.

Steve Keister mines ancient culture for his sculpture’s formal vocabulary. His baseboard pieces objectify and hallow the spaces they circumscribe.

Dorothea Rockburne has consistently broken ground in integrating science and mathematics with art throughout her long career. The shifting morphology of her work is a product of her insistent exploration of these themes. She is represented by Greenberg Van Doren Gallery, New York.

Carol Salmanson creates sculpture in which a weighty geometric housing imparts a sense of fragility and mystery to the light emitting diodes it contains. She is represented by Dam Stuhltrager Gallery in Brooklyn.

Don Voisine paints dark geometric form tempered by colorful boundaries. Their relentless geometry belies their restless motion. Voisine is represented by McKenzie Fine Art in New York.

Chuck Webster draws on sources as diverse as Italian glass and Shaker drawings to fuel his polymath abstraction. He is represented by ZieherSmith in New York.