These recent configurations are made from colored acrylic, in shades that transition from smoky gray to glassy pale blue-green. Glimpses of the gallery space come and go within the walls and edges of the acrylic panels, which sometimes appear transparent, while elsewhere they look opaque. As art historian Matthew Simms wrote in 2018: “The configurations, when viewed by an ambulatory visitor, give rise to sensations of parallax, as they appear to rotate in space as the viewer moves around them.” Just as they did at the beginning of his career, Irwin’s objects continue to surprise and move us, even to throw us off balance, with seemingly simple interventions, reminding us to stop and experience the physical world and its many phenomena.