In other works, like 'Landscape 13 10.1.60', the details seen in the neighbouring drawings have been removed to leave an ostensibly empty field demarcated by a crooked frame drawn by hand in one continuous gesture. Law’s subsequent interest in the existential void — signalled in later titles like 'Mister Paranoia' and 'Nothing to be Afraid Of' — was rooted, somewhat surprisingly, in these abstractions of the Cornish landscape. Even in the more sparsely populated drawings, we have the sense that Law’s framed spaces are charged with numinous potential, setting them apart from the non-referential ethos of American Minimalism.