Mary Vieira left São Paulo for Basel in 1951 to work near Max Bill, and stayed to teach. What came out of that move was Brazilian concretism cut on Swiss machines: stacks of anodized-aluminium discs on a lathed cylinder, seated in concrete, that the viewer turns by hand. The sculpture has no single form — only the one your fingers just made.

This system takes the metal itself as the page. Satin mill-finish grey ground, a specular ring where a surface has been turned, black-anodized edges, one sanctioned blue. Type is Basel grotesque: flush left, tight, lowercase. Every measurement should read as a tolerance.