“In this century, technology itself has become more abstract, and it has transformed the world we live in into an abstract environment” wrote Peter Halley in his 1991 essay “Abstraction and Culture.” As Halley points out, abstraction is inherently linked to the cultural and historical condition of its making. Previous abstract movements such as Suprematism and Russian constructivism were interested in social and political utopias, while abstract expressionists were interested in abstraction as a way to speak to universal truths in light of the devastation of the postwar years. Some artists included in this viewing room carry on abstract expressionism’s desire for an emotional reaction or connection with the viewer, while others are more interested in exploring new formal possibilities; both veins result in an embodied experience, a trademark of abstraction.