Hand-held crosses have been in use in Ethiopia for centuries, and are an integral part of the practice of Ethiopian Christianity. The crosses are made of cast metal or hand-carved wood and most often consist of a cross of equal-length arms, a short handle, and a square base.

Hand-held crosses have been in use in Ethiopia for centuries, and are an integral part of the practice of Ethiopian Christianity. The crosses are made of cast metal or hand-carved wood and most often consist of a cross of equal-length arms, a short handle, and a square base.

Hand-held crosses have been in use in Ethiopia for centuries, and are an integral part of the practice of Ethiopian Christianity. The crosses are made of cast metal or hand-carved wood and most often consist of a cross of equal-length arms, a short handle, and a square base.

Hand-held crosses have been in use in Ethiopia for centuries, and are an integral part of the practice of Ethiopian Christianity. The crosses are made of cast metal or hand-carved wood and most often consist of a cross of equal-length arms, a short handle, and a square base.

Hand-held crosses have been in use in Ethiopia since the 15th century and are an integral part of the practice of Ethiopian Christianity. The crosses are made of cast metal or hand-carved wood and most often consist of a cross of equal-length arms, a short handle, and a square base.

To tribal people, magic is a way of dealing with the uncontrollable elements of life, like sickness and death. The shaman is a figure of power and authority—an intermediary between human life and the Unknown. The shaman's ritual equipment was invested with the mysterious suggestiveness that found objects, such as oddly shaped stones or bones, have for the human mind.

James Rosenquist's Paper Clip prominently features the red flying horse (corporate logo of the Mobil Oil Company and a beacon to travelers for decades) that adorns a high-rise in downtown Dallas, Texas.

To create her Commuter series, artist N. Dash carries paper with her on her daily subway rides; creasing, folding, and unfolding the material in these periods of transition and pause between daily activities.

Commissioned for the Dallas Museum of Art's Edward Larrabee Barnes downtown building, opened in 1984, the monumental site-specific Stake Hitch embodies artist duo Claes Oldenburg and Coosje van Bruggen's proclivity for sculptures that resemble everyday objects