One of the results of my investigation of sculpture is a realization that abstract forms can be containers for abstract ideas, and can even stand for ideological concepts. Whether through the artist or designers’ intensions, or through associated meanings, certain forms and colours have come to express modernity and progress in both art and architecture. This process is the subject of this series of works. The video New Utopias extracts a series of solid geometric architectonic and technological forms from popular film imagery and, based on their narrative context, identifies these forms as utopian. In Baghdad Case Study, a roof form from the US embassy complex in Iraq is isolated and identified as representative of both the architect’s intentions and the progressive agenda of one branch of the US State Department during the Cold War. Wilderness Utopia features the clean, prismatic forms of functionalism as signifiers of progress—in this period social and technological progress were considered part of the same parcel—to the planners of a new town in the Canadian wilderness. Kitchen I & II shows how new postwar construction and electronic technology helped women accomplish more in the kitchen, freeing up time for their own careers outside the home. A little male participation at the stove and sink could have achieved the same goal of course, but men preferred to devote their energy to streamlining kitchen technology instead. Both Grand Ensemble and Tlatelolcona examine the meaning of scale in public projects, specifically how vastness used to be employed as a signifier of government activism in the planning of public housing.