Science informs us that our genotypes contain the genetic information of an individual, but what's expressed as our phenotype is what people see. Biology, of course, is not destiny, and in a few of the works in "Pyramids Fall Too" Milad treats the pyramid form as a visual expression of identity that is, perhaps, no longer sufficient for communicating what it once did. In pieces such as 'They Are Pyramids,' 'Rebuilt Site,' and 'Pharonic Open' Milad's pyramid forms are beginning to be overshadowed by other elements. Gold curves suggest a feathery exterior. A pyramid's matte black face melts into a billowing cloud. Gold-line loops interlock to become stretches of gold chain. These visual developments aren't tacked extras to the pyramid forms, like adding a bathroom to a house. Milad's visual flourishes are indications of the pyramids becoming something else. And if the creation of an accurate self-identity means demolishing the historical conventions represented by the pyramids in the process, well, let them come down.