Schafer posits a modern view of male hysteria as a neurosis concerned with power, truth, and control. He literally deconstructs Newman’s and Breuer’s grand visions for painting and architecture, uprooting them from their context as keystones of art history. In doing so he doesn’t discount their contributions; he just inspects them from a different angle, inviting viewers to consider their place in art history anew. While Schafer’s sculptural constructions are overtly minimal, the sound he pairs them with is chaotic and hysterical, disrupting any sense of the work’s formalism. In doing this he encapsulates both an idea as it is widely known, and its lesser-known, human aspect, personalizing artists’ principles and underscoring other psychological elements that may have been at play.