At the opening, this was also evident in a reprise of the 2011 performance Counter-relief
(CCS Bard), with dancer Maria Hassabi.
Confronting the rift between vitalistic-spiritual suprematism in painting and mechanistic-materialist constructivism in 'objects', Spira shows uncommon concern with the iconic on Tatlin's part, with a classic Corner Counter-Relief
as 'counter' to Malevich's hanging of his first Black Square across the corner of the exhibition gallery in 1915, famously like an icon in the privileged 'red corner' of an Orthodox household (no mention of the ensuing fistfight, however).
The fold engenders the fantasy of unfolding, and of the plane as a compression of volume, an idea developed further in the Counter-reliefs