The black pedestal rising for the ground plane, like that of an early Brancussi, is integrated into the suspended scrutiny of an ahistoric object centered within. Under the skin of a scored vacuum formed plastic grid lies the floatation of a hand-made polished rock. The grid, an anti-organic man-made construct, is typically used as the measure of coordinates for “space”. Yet in this case the distorted grid signifies the questionable value attributed to the documented history of an object’s origins.