ability to extend two-dimensional sensibilities and geometries into three dimensional "hybrid constructions" and installations. She often relies on reduced color—keying works to one or two primary hues—and simple shapes as basic units, translating thoughts, experiences, emotions and information into abstract visual language. Her use of line, grid and form has been linked to artists such as Mondrian, the Constructivists, minimalists Donald Judd, Sol LeWitt and Tony Smith, and Peter Halley, but is more directly connected to accumulative artists such as Judy Pfaff, Jessica Stockholder and Sarah Sze. Critic David Cohen has distinguished her from the latter group, identifying a "divided sensibility" that maintains both a handmade, casually obsessive mode and a systematizing one committed to taxonomies of form and function. He wrote that all of her work—regardless of format or scale—remains in the orbit of drawing, poised between doodle and collage and operating "as a way of being in the world." Canvases and wall reliefs By the mid-1990s, Cooper abandoned painting in favor of a more personal form of expression involving expansive, Sharpie-marker doodles on canvas stapled to walls. In these works, tiny lines and circles (generally red, yellow, blue or black) accumulated to form dense networks, grids and mazes. The Black One (1997) is a representative work—a monochromatic canvas covered in black doodles, its surface embellished with metastasizing protrusions of pipe-cleaner chutes and ladders, pockets of pompoms, tape and construction netting. Reviews noted these labyrinthine designs for their graphic skill, sense of improvisation, and play of organic (cells), informational (maps, architectural plans) and technological (electrical circuitry, computer chips, bar codes, pixels) allusions. New York Times critic Ken Johnson wrote, "Cooper's additive process is not uncontrolled. Out of the tension between structures of order and containment and impulses of transgression and expansion, grows a ramshackle architecture or a kind of schematic model of the mind at play." In later works, Cooper explored more varied and elaborate formats whose elements spilled off canvases onto walls and floors. Los Angeles Times critic Christopher Knight situated these wall reliefs (e.g., My Eye Travels, 2005) between self-contained drawings and "environmental deluge," likening them to visualizations of the ways computer viruses might work: "Havoc occurs through precise channels of organization, manic energy merges with exacting control and data seem to wobble between ferocious and benign. The structure of her art is a hybrid of machine regularity and human caprice." Installations and sculptural works In the