Grids can appear to present space and time statically. For some people the sight of grids can immediately conjure up notions of fixity, timelessness, and imposed order. According to Lutz Koepnick, grids are "not a product of the unpredictable temporality of the viewers' physical movement and sensory perception but a prearranged logic of compilation and construction, a mechanism seemingly engineering uniformity, universality and unwavering stability" (2006: 53-54). Images such as algebraic graphs, geographic maps and architectural blueprints come to mind. Through their use of Cartesian x/y coordinates, these images produce gridded spaces that establish a methodical, inanimate, and invariant order upon all that is contained within them. [1] Koepnick and Sabine Eckmann suggest that the grids found in the modernist paintings of the early twentieth century particularly display this inclination towards immutability and predictability. For them, "the grid enabled art's capacity to distance itself from language, figuration, and representation and provided visual experiences favouring simultaneity over the sequential, the spatial over the temporal, the abstract over the representational, and the universal over the particular" (Eckmann and Koepnick 2006: 8). One clear example they give is the paintings of Piet Mondrian. [2]