In 1990, Ann Ledy began a new body of works on paper, a development linked to her book pieces of the 1980s, which explored the physical experience of viewing and reading in relation to memory. Ledy was fascinated by the idea of the book as an object-in-succession. She has compared the effects of visual memory in this context to “afterimages” that “mark time.” The works in this exhibition represent the next step in the evolution of Ledy’s practice, when she began to assemble pages in unbound groupings, utilizing two geometric forms—the circle and the square—as the basis of her compositional matrix. Marks added to this matrix came from personal sources, such as the artist’s experience of time as evidenced in the shapes and trajectories of shadows. Most of the titles derive from Japanese aesthetics; a few come from Greek mythology.