For one thing, in contrast to the the ideal white cube that O’Doherty describes, GAMA always brings the outside in. In the painting Baraker (Bath)
(2012), a three-dimensional hunk of mountain and river is depicted in the center of what appears to be a gallery, with exposed brick pillars and wooden beams hanging from the ceiling. In Young Shepherd
(2014), he places sheets of rock and a swath of pine forest in front of a wall covered in iconic paintings like ’s Girl with a Pearl Earring
(c. 1665) and ’s Black Square
(1915). Clearly, the setting is a room in an art institution, but the walls are half pink, the ceiling striped, and the barriers to the outdoors porous. In Labsal (Alchemy)
(2009), the wall of the room itself becomes a multicolored abstract painting, while a massive tree puts down roots in the same wooden floor from which a colorful mushroom grows. GAMA grew up living in yurts—spaces without precise lines or right angles. Giving his scenes rounded edges in paintings like Baumeister (Builder)
(2014), the artist reminds us that we take for granted not just the blankness of our galleries, but also the rectangularity of our rooms in general.