Here Porter uses a “neutral “geometric form—something devoid of inherent or associated meaning or emotional charge—to tackle an ethereal subject more significant and confounding: the nature of time and reality. Three spatial and temporal planes are presented simultaneously, starting with the object of a pyramid situated on a sandy surface, next to its depiction clearly drawn by a finger. These two forms are both then reproduced photographically, and then again materially in the triangular shape that has been cut out and collaged, almost imperceptibly aligned to its original position, on top of the photographic depiction.