However, our perception of the unrecognizable objects Conant renders in the 'Human Gesture' paintings changes completely when we enter the "minigallery" built in the center of the room. Inside, pin-size holes emitting light from outside dot the crumpled black paper ceiling. Red and green lights illuminate four small plaster and sand sculptures—the forms represented in the paintings—mounted onto the velvety matte black walls. The ridges and curves of the bloblike, abstract forms reflect stripes of red and green, like short squirts of tri-color mint toothpaste. One droops downward in a viscous cascade, another swerves in a contracted wave, and another bends sideways—fluid motion challenged by the grisly texture of the sand and the visible weight of the material. The forms, which Conant created by casting plaster in spaces she clawed into sand, evoke sharp, sweeping movements of the artist's hand, like three-dimensional action paintings. The color from the red and green lights highlight the inviting tactility of the ridges, lumps, and crevices. Here, color generates a visual sense of touch.