"Subdivision" featured sections of white picket fence arranged in a tight square formation that reviewers wrote signified both idealized suburban life and the claustrophobia or menace of pristine but squeezed living; "Shelf Life" featured stacks of food cans stripped of labels and wedged into a cupboard–like space, a meditation on obsolescence and mortality that "Artforum" likened visually to "a miniature Louise Nevelson in metal."