Bernard Tschumi. Synthetic cubism, with its application of found object art, is not as great an influence on deconstructivism as Analytical cubism, but is still found in the earlier and more vernacular works of Frank Gehry. Deconstructivism also shares with minimalism a disconnection from cultural references. With its tendency toward deformation and dislocation, there is also an aspect of expressionism and expressionist architecture associated with deconstructivism. At times deconstructivism mirrors varieties of expressionism, neo-expressionism, and abstract expressionism as well. The angular forms of the Ufa Cinema Center by Coop Himmelb(l)au recall the abstract geometries of the numbered paintings of Franz Kline, in their unadorned masses. The UFA Cinema Center also would make a likely setting for the angular figures depicted in urban German street scenes by Ernst Ludwig Kirchner. The work of Wassily Kandinsky also bears similarities to deconstructivist architecture. His movement into abstract expressionism and away from figurative work, is in the same spirit as the deconstructivist rejection of ornament for geometries. Several artists in the 1980s and 1990s contributed work that influenced or took part in deconstructivism. Maya Lin and Rachel Whiteread are two examples. Lin's 1982 project for the Vietnam Veterans Memorial, with its granite slabs severing the ground plane, is one. Its shard-like form and reduction of content to a minimalist text influenced deconstructivism, with its sense of fragmentation and emphasis on reading the monument. Lin also contributed work for Eisenman's Wexner Center. Rachel Whiteread's cast architectural spaces are another instance where contemporary art is confluent with architecture. Ghost (1990), an entire living space cast in plaster, solidifying the void, alludes to Derrida's notion of architectural presence. Gordon Matta-Clark's Building cuts were deconstructed sections of buildings exhibited in art galleries. 1988 MoMA exhibition Mark Wigley and Philip Johnson curated the 1988 Museum of Modern Art exhibition Deconstructivist architecture, which crystallized the movement, and brought fame and notoriety to its key practitioners. The architects presented at the exhibition were Peter Eisenman, Frank Gehry, Zaha Hadid, Coop Himmelblau, Rem Koolhaas, Daniel Libeskind, and Bernard Tschumi. Mark Wigley wrote the accompanying essay and tried to show a common thread among the various architects whose work was usually more noted for their differences. Computer-aided design Computer-aided design is now an essential tool in most aspects of contemporary architecture, but the particular nature of deconstructivism makes the use of computers especially pertinent. Three-dimensional modelling and animation (virtual and physical) assists in