Moses’s works are frequently framed by two metal pipes running vertically along the edges of the paintings. They are attached to the back with brackets, are often partially painted, and occasionally include a chain that runs across the surface of the painting, linking them. In Stares Dwn (2015), a funky grayscale surface has been marked with repeating black and red circles, erratic hash marks, and multicolored plus signs. Two shelf-like, horizontal appendages have been attached to the painting’s face; the bottom one is bin-like and holds paint-caked stir sticks in bright colors. A thin chain droops from left railing, across the top assemblage, down to the bottom one, back up and finally to the rail on the right. By employing these appendages, Moses undermines the flatness one typically assumes of painting. Aleff (2015) also contrasts the industrial nature of a chain against Moses’s exuberant, gestural brushstrokes.