After an introduction by Marrikka Trotter, Walead Beshty clarifies that his work engages the aesthetic not in a romantic sense but in the etymological Greek sense of “something becoming knowable through the senses”, i.e. knowledge that comes through a situation that is physical, immediate, and political in the sense of collective.

Beshty discusses several projects including
•“Travel Pictures …” (2006)
•“Fold …” (2008)
•“Multi-sided pictures”
•“Color Curls”
•“FedEx works” (2007-)
•“Transparencies” (2017)
•“Mirrored floors”
•“Copper” FedEx boxes
•A series of Copper table-tops, and work tables from the gallery offices
•“Selected works” (2006)
•“Copper remnants”
•“Copper surrogates” i.e. “pictures” and “sculptures” that register through tarnish their handling history
•“A Partial Disassembling of an Invention without a Future …” (2013-4)
•“Aggregate,” his installation at the 2015 Venice Biennale 2015, produced in collaboration with Guadalajara's Cerámica Suro.
•“Three color curls”
•A series of LED screens disrupted by being drilled through
•“Office works”