Liz Larner’s monumental magnum opus, 2001, from 2001 superbly elucidates and illuminates many of the technical and theoretical challenges that she has confronted throughout her sculptural practice. Having worked with the “cubic” form for some time prior to 2001, Larner was well versed in its literal-physical and also poetic-interpretive connotations and readings. The balance, solidity, symmetricality and stability are all elements of the form to which Larner has felt immeasurably drawn. Here, however, she subverts and manipulates these exact components to such a degree that the work is no longer cubic but rather more spherical. Her aim is not to represent the cube but to use the cube as an inflection point from which she can then posit new, shifting realities. Larner achieves this with the coupled aids of technology and color. Larner developed the hybrid sphere-cube form with advanced animation technology, blending the two geometries to create a highly original and complex amalgamation of the two. The pearlescent chameleon auto-body paint, which is actually a layering of five different colors and reads differently depending on the view-point of the observer, serves to reinforce her aim of subverting and challenging the preconceived notions of what the cube represents and how it is understood in our current reality. Masterfully destabilizing a foundational form, 2001 is not only a crowning work of the artist’s within her own oeuvre, but certainly also within that of three-dimensional work throughout time.