Tauba Auerbach’s work is concerned with the relationship between visual systems in the language of painting, craft, and sculpture, and those of the sciences, from physics to linguistics to biology. Working primarily within the idiom of abstraction, Auerbach grounds her experiments in ways of seeing and understanding that depart from the purely experiential. Visual art as a mode of research comparable to the methods used by scientists has a long history, and Auerbach renews that relationship and updates its point of contact through engagement with current trends in scientific research. For her edition for TEXTE ZUR KUNST, Auerbach adapted two frames from a film in which she conducted her own demonstration of the once-controversial Pilot Wave Theory: an explanation of the underlying structure of the physical world previously abandoned by its chief proponent for its heretical implications for quantum theory, but now widely embraced by many in the field. The results of Auerbach’s artistic research (she does not take a position on the implications of the experiment, one way or another) testify to the deeply rooted connections between abstraction and the very physical ground of the universe. And one remembers that the invention of abstraction in Western painting was nearly contemporaneous with the emergence of quantum physics. Auerbach’s two C-print set offers a compelling example of a historically-informed mode of abstraction that challenges the idea of the abstract as somehow divorced from the natural world.