This small ivory piece was originally one of many plaques attached to the ceremonial regalia of a Himalayan monastic dancer. These plaques were decorated with the deities of Tantric Buddhism, like Mahakala, a wrathful deity.

This ivory finial was clearly a medial piece made to fit together with other parts because it has top spaces for the insertion of ties, and the bottom has a large peg that would fit into a base.

This ivory leg of a ruler or deity's throne is completely carved in the round. The main figure, with its bared teeth and protruding tongue, is a composite mythic image, known as a shardula—a cross between a lion and a sharp-beaked bird.

Slack of Vinyl corrupts the implied perfection of geometry, particularly that of the square.

Paul Lee often incorporates seemingly banal found objects as primary materials to create modest sculptures with layered, enigmatic meanings.

This sculptural piece is a chess-game king in the form of an elephant carrying three riders.

David Musgrave's illusionistic drawings test the viewer's assumptions of reality. The work's title leads us to discern mountains, craters, or a horizon from pencil markings that create the semblance of wrinkles and dents on a gray "sheet" of paper.

This system-based work is an ingeniously conceived project that takes the dimensions of the wall it is installed on for its spatial composition.

Alex Hay, who was active in New York's Pop Art scene in the 1960s, aggrandizes the familiar characteristics of household objects. Hay's precise attention to detail is visible in this comically enlarged legal pad sheet's evenly torn top, thick ink lines, and unmistakable shade of yellow.

Plaques like this one form architectural decorations in Buddhist temples or are used in domestic shrines. They are created by Newari craftspeople, who are especially skilled metalworkers.