As a founding member of the Japanese avant-garde movement Mono-Ha (School of Objects), Lee Ufan has developed an oeuvre that is based on the rejection of traditional Western forms of representation in favour of a focus on the relationship between materials and perception. Ufan’s new work evolves from the artist’s decade-long Dialogue Series and consists of familiar serene white canvases illuminated by expressive patches of paint each comprised of a maelstrom of tiny brushstrokes which are said to be executed in tandem with the artist’s breath. What sets these recent works apart is a new focus on chromatic propinquity that intersects with the Japanese aesthetic concept of yohaku (the use of unpainted space), specifically in how the works relate to the wall and architectural space and the calligraphic way the brush tapers off into emptiness. More experiential than visual, Lee Ufan’s minimalist works demand reflection on the relationship between seeing and reality. At Pace Gallery through October 13.