This work takes the form of a number of panels hung to incorporate the colour (or absence of it) from the wall behind. Bands of red, orange and black are broken by each other, and by the physical space as well. This is minimalism evolving – with a move away from traditional monochrome, but a palette still applied to simple, rigid shapes, Maurer is interested in the interstice of tone and form. The use of space makes the work hover somewhere between painting and sculpture, and the wooden boards on which she’s painted are treated as objects in their own right rather than ‘just’ surfaces. Similarly, Maurer’s ‘Hidden Structures 1-6’, 1977-80, are interested in the way in which a two dimensional surface can be manipulated to suggest a three dimensional one. Here, depth is implied by pencil shading and rubbing to create the illusion of shadow, and by drawing over fold-lines; the traces of the paper’s prior manipulation must mean that the flat surface, at one point, extended into our space and beyond its own.