Christopher Badger begins with a root fascination—a shape, a landscape, or a sound—and then pursues it methodically to its logical, and usually open-ended, conclusion. Though his work touches on timeless questions and engages with “forms as forms,” his process allows for unusual transparency. When he revisits a modernist form, he denies its singularity, pointing to the multiple threads that make it up and the myriad directions in which it could potentially go. Obstinate problems are met with an abundance of hypotheses, each seemingly equally compelling.