Unlike Selikoff's sometimes sinister forays into chaos, Bathsheba Grossman's mathematically derived sculptures represent "visions of order in the universe, my peaceful places," she explained in her artist statement. Among her small statues on display are the 120-Cell (2004; co-designed with George Hart), whose one hundred and twenty nested dodecahedral faces recall the beauty of a faceted gemstone, and Gyroid (2005), a triply periodic minimal surface whose gently pointed arcs resemble an exotic seed or sea creature. While keeping faithful to the mathematical contours of Gyroid (a surface discovered by Alan Schoen), Grossman gave the piece an artistic touch of her own by adding perforations that allow a closer look at its inner forms. "These surfaces are difficult to wrap a human brain around -- even with a model in front of you, they're just hard to understand -- and it helps a bit if you can see through the surfaces," she explained in an interview. "The perfect diagram is one where the light and the eye can reach every part of the surface at once, so that one truly sees in three dimensions." The exhibition design helps too; instead of presenting the statues in display cases, the gallery staff secured them with cables, so visitors can manipulate the pieces to view them from multiple angles. For the mathematically uninitiated, Wikipedia printouts on a nearby wall explain the math used by Grossman and the other artists.