Buren applied his minimal, 8.7-centimeter-wide lines to wood next. “I touched so many different materials over the course of my career,” the artist says, “we tried to represent as much as possible of the different materials. In 1965–66 I was working with stripes and linen, in a very systematic style of painting. Then I started to work in the street, gluing fabric to wood; later even working with graffiti. I kept the stripes as a visual tool, as a sign to lead your eyes to another spot in a space, for example.” Also on view in the booth is a work from 2010, a giant, wall-mounted aluminum circle bracketed by four triangles, all five elements adorned with white lacquer paint and black adhesive paint, and covered in a layer of orange Dibond, to form stripes along its edges. The most recent piece on view, created this year, is a square marble-and-granite slab covered in vertical black-and-white stripes, suggesting Buren has moved progressively toward immortalizing his motif in solid, sculptural forms, though he has worked with marble for some 30 years.