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Pumhosl always basing his objects on something, assigning a raison d'être, a reason for them to live on gallery walls based: an "engagement with a vocabulary of form from different historical articulations.." [😐] An assumed criticality, i.e. content, the rivers here, differentiating them from the more militant minimalists of history, their objects dumb on floors. This makes Pumhosl's conceptual, a framework which is then treated to a Kubrickian austerity, totemized as the monoliths, allowing the surrounding emptiness of space to lend all the pressure that the gallery symbolically can.
see too: Brian Calvin at Le Consortium
