These are hard lines. They break up space and delineate geometric forms whose meanings we can only assume. We use minimalism now to think about systems—it’s no longer just a matter of reduction, of paring back to the core characteristics of a medium or material, so much as generating a program or map, a set of data points from which some form of technical information might be predicted or inferred. Gelzis makes these works digitally, 3D-modeling the sculptures before rendering them in steel tubes and fabric sleeves. This process—and the fact that the finished works look a bit like hyperactive stock market graphs—might allude to neoliberal capitalism’s impulse to accumulate information-as-wealth (think, for example, of the nov- el and exciting means Facebook innovates to profit off its users’ data).Through it, the artist both materially consolidates and abstracts information into paintings and/or sculptures that appear to map some sort of data but flippantly refuse legibility.