Michael Pfisterer's recent photographs collect multiple views of 19th-century mathematical models on single large sheets of white paper, depicting these varied perspectives as stacks of smaller prints seen from above. Elegantly austere and quietly conceptual, his photographs accentuate the appealing formal qualities of the objects — their muted colors, worn edges, and the play of geometric shapes — while underscoring the aesthetic of methodical documentation. Hiroshi Sugimoto's earlier photographs of trigonometric models savored sculptural beauty as the incidental offspring of rational thought; Pfisterer invites us to investigate an in-between place where art and science overlap more ambiguously, balancing visual enjoyment with a deliberative scrutiny.