In a little heard of world-class art gallery in the Midwest, amidst the Monets, the Manets, a single de Chirico, and the Egyptian mummy cases, there's a wall-mounted installation. The only genuinely interesting thing about this repetitive piece of "art", which consists of hundreds of white paper pyramids arranged with mathematical precision on a wall facing a plate glass window, is that if you stand on one side of the installation and then slowly, carefully walk your way from left to right with your eyes fixed on the hundreds of white paper pyramids, the white paper pyramids go from white to gray to, shockingly enough, violent orange, transforming the entire experience to something that is still a collection of paper pyramids, but now gone from white to orange, with no hint of the white. They're still paper pyramids, but the simple change of perspective, point of view, of a matter for say, five feet in one direction or the other, gives a different story about something that hasn't changed at all – it's not the installation, that has changed, or even the viewer, but the point of view.