Megan Cotts invokes social history in the conceptual content of her formalist paintings and textile pieces. Cotts’s family owned a textile and paper factory in Germany prior to World War II, before the Nazi government forcibly closed the business. For her work she has scoured the family archive for patterns, patents, and other mechanical imagery, which she then incorporates into the design and adornment of honeycombed fabric reliefs. Hard-edged, linear designs—developed from the same archive—ornament Cotts’s soft, enveloping fabric reliefs. Her more oblique sculptures refer to the body in the abstract way that sewing patterns do, representing three-dimensional sections of a person in a flattened textile sheet that Cotts recreates in fiberglass, metal, and paper.