The exhibition is divided into three components representing three key materials: geometric compositions of corrugated cardboard, geometric compositions of paint on canvas, and figurative intaglio prints. What all three components have in common is the repetition of abstract, geometric forms; however, the cardboard collages and acrylic paintings share a common aesthetic and metaphysical language that is ostensibly absent in the intaglio prints.
Thompson is relating the same idea that Kazimir Malevich endorsed a hundred years ago with his Suprematism—a Russian avant-garde movement and aesthetic philosophy established on the belief in the triumph of pure feeling over objective reality, which depictions of pure geometric forms artistically conveyed. These depictions, however, did not include in their compositions the rather hackneyed text of Thompson’s. The collage would have been much more effective, like in the Tonasket I: Hope, without the added aphorism.