Before Paul Mogensen starts a painting, he carefully deliberates on what not to paint. Methodical reduction is, of course, the basis of every mathematical equation and by extension the basis of Mogensen’s spatial compositions. An exhibition at Karma is divided into what appears to be two distinct progressive pattern figurations. The main room features seven recent bi-chromatic works of expanding squares that organize into self-propelling spirals. In the back room nine smaller works are built on the infinity concept of the line. Here, Mogensen arranges Staccato-like dashes into visual rhythms that recall Morse codes or the versification of computer coding. Mathematical concepts decide the sequencing and placement of Mogensen’s patterns and take them away from the canvas into perpetuity. Add a serious understanding of surface materiality through the clever manipulation of color and texture of paint and one logically arrives at what Lissitzky called ‘the system of universal validity’  where a series of interconnected relationships form the basis of all art. At Karma through November 4.