Best known for geometric abstractions that ricochet beyond the frame and recall sociopolitical issues like commodities of wealth, Brooklyn painter Jamaal Peterman debuts a series of multimedia works that reflect on how Black and Brown bodies navigate through urban space. Lines of connection run between each form to suggest routes of access and exclusion, at once referencing information flows, circuit boards, and redlining. Resembling sidewalks, bricks, or building facades, textured sections are embedded with tactile details that represent memory and the disappearance of physical identity. The exhibition title refers to R. Buckminster Fuller’s allegorical final book, Grunch of Giants (1983), in which he argues that humanity would be better off without gigantic corporate megaliths.