Solakov, for a 2009 exhibition at the Frankfurter Kunsthalle called “The Making of Art,” created a latticed, house-size wooden frame (interestingly, Zobernig has also experimented with creating his own gridded exhibition structures). The frame is filled with personally and collectively significant images—a reproduction of the Mona Lisa, a pile of gift boxes. In two pendant works at Art Basel, Optimism and Pessimism, Solakov brings his self-effacing, personal introspection to an imperfectly drawn abstraction, in which a stack of shaky rectangles creates a precarious column. Haleh Redjaian creates textiles and works on paper in which geometry seems to disintegrate. Her framework is highly structured, but her lines diverge and reflect a human hand, and her textiles conjure cultural and gender stereotypes, perhaps revealing a certain freedom in breaking from the grid.