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Rosalind Krauss's landmark essay of 1979 on the grid form in art characterised the grid in equivocal terms as centrifugal and centripetal, as structure and framework, and most significantly for this discussion, as a vehicle for the conjunction of art and spirit. The grid provided artists with a means to surreptitiously reintroduce the spiritual into an art form that appeared, on the surface, to be wholly material. Taking her essay as its basis this paper looks at the work of two contemporarydoi:10.1163/15685292-01805004 fatcat:syedeila4basxkj6pdijwssi4q