An examination of spatial considerations in the senior artist’s abstract painting and sculpture. The essay considers the rapport that exists between the work and the exhibiting space. What is the meaning of the great white space of the gallery by way of these works? Today, the white cube is only one possibility amongst many in the public framing of contemporary art. How is the white cube still current in an age where it is often reconfigured as a black box, or altogether forsaken by a whole set of relational practices?