Untitled (Shell) explores the relationship between physical location, light, and perception. Audiences can see inside the sculpture through the large opening and spaces between the segments but only in particular locations around the work. Viewers must place themselves to the rear of the piece in order to see inside; the sculpture hinges visibility on the viewer’s position. The interior offers a different view for those willing to lie inside. The closeness of the metal limits vision to mere glimpses of the outside through the spaces between the segments. Experiencing the inside of the Untitled (Shell) is akin to hiding in a closet, peaking through the crack between the door and its frame. Within the confines of the sculpture, viewers become detached from the exterior environment as they only see portions of the outside environment. The dome hyperbolizes the restrictions on movement and visibility that buildings place on their inhabitants. Untitled (Shell) prompts viewers to question the feelings of detachment and limitations of vision both inside and outside architectural spaces.