"Several years ago, a change in the work of a number of younger artists living at great distances from one another became apparent. Whereas as recently as the early 1990s there was a marked distinction between artists whose work referred back to earlier generations of geometric abstraction and those whose approach to the human figure was closely bound to even earlier modes of representation, by the end of the decade this distinction was vanishing. In its place, a new hybrid genre of representation began to emerge, one in which the grid did not fugure so much as a framework but as an inhabited space. This development, cutting through other distinctions of genre and medium, was not so much a movement as a new approach to representation, which appeared to have grown out of profound changes in society." - Abstract taken from 'Living Inside the Grid,' essay by Dan Cameron, p.11.