In his sculptures, installations, paintings, and videos, Tom Miller explores the structures we impose upon ourselves and the world—architectural and social—as expressions of politics, power, and interpersonal and international relations. With the precision and serialization of Minimalism as his reference points, he presents spare, monochromatic works, animated by subtle tensions. In his Hiding the Body paintings, in which balding, bespectacled, corporate types shovel earth over a ditch full of roses resembling human skulls, he critiques our workaholic culture, in which the pressure to produce often overrides the usefulness and, troublingly, the morality of the production process. Isolated architectural forms, including walls and corrugated metal siding, recur throughout Miller’s work, metaphors for what he calls “the political condition,” as if politics were a disease. This is especially evident in his explorations of the wall, a structure both protective and dangerously divisive.