Sarah Morris creates paintings and films that explore urban codes and power structures, most recently of Paris, Rio, and Beijing. Her graphic, diagrammatic paintings employ rigorous abstraction to create a virtual architecture that plays with notions of social space and identity. Located at the crossroads of Pop, Minimal art and geometric abstraction, Morris has been an influential force since the mid-1990s, investigating the complex conversation between social space, identity, and power. In his indepth essay French critic Frédéric Paul explores themes such as power, architecture, geometry and manipulation in Morris' complementary practices of painting, film and works on paper. This book was published parallel to the Sarah Morris exhibition Astros Hawk (October 19, 2015 - March 20, 2016) at Museum M, Leuven.

Frédéric Paul has largely written on Robert Barry, Mel Bochner, Douglas Huebler, Allen Ruppersberg, William Wegman... and on some younger artists as different as Claude Closky, John Currin, Hubert Duprat, Beatriz Milhazes, Jonathan Monk, Steven Pippin, David Shrigley. Ex-director of the Frac Limousin and the Domaine de Kerguéhennec, he is now curator of the MNAM-CCI/Centre Georges Pompidou.