Deconstructed Elements of the conventional gallery display examined, questioning logocentric representation. ANALYSIS: This is an exploration of the ideas and views surrounding deconstruction and wall art. Logocentricity, thought and hence systems of thinking brought about only through language, is a conventionality obtrusive to art. The viewer often spends more time reading museum tags than enjoying the painting. Although many modern works incorporate words, sentences, and poetry as part of the visual composition's full message, the fundamental components are shape and color. The philosophy of deconstruction, with its rebellion of the logocentric assumptions for human reason, its popular interpretation as revisionism or an updated analysis, and its literal manifestation are all aspects examined in this set of collected works. Frames, glass, and matting are presented in their own right, untitled as to avoid the stigma of a name. Untitled #57 Wood, Acrylic, Garnet, Pearl Untitled #80, #76 Lucite, Pigment, Resin Untitled #15 Acrylic, Found Object, Glass Untitiled #9 Lucite, Pigment, Resin Untitled #18 Cotton, Pigment, Wire Untitled #21 Acrylic, Cold Dye, Crepe Silk Untitled #5 Wood, Acrylic, Glass Untitled #12 Cotton, Pigment m.i. is an art and design group featuring the collaborative works of Li-Ann Lim and Hsing Hsing Li. More information at www.mi-xology.com. Both in art and in literature, the function of the frame is fundamental. It is the frame that marks the boundary between the picture and what is outside. It allows the picture to exist, isolating it from the rest; but at the same time, it recalls--and somehow stands for--everything that remains out of the picture. I might venture a definition: we consider poetic a production in which each individual experience acquires prominence through its detachment from the general continuum, while it retains a kind of glint of that unlimited vastness. --Italo Calvino