Sarah Morris’ paintings allude to structures and systems that capture phenomena and convert them into patterns, using a vast range of references from architecture to industrial design, cartographic iconography, language, sociological diagrams, systems, and game theory. Thus, cities worldwide have their atmosphere and ambiance converted into color schemes; the reading of an audio signal becomes a pattern, and the constructive typology of the capitalist city is decomposed into lines and curves and passes onto Morris’ surfaces. Thus, roundabouts and street networks compose a shared vocabulary between the city’s macroscopic scale and the painting’s flattened surface.