For Tree, Joel Fisher photographed his 1987 sculpture Study for a Tree, enlarged the image until it became pixelated, and re-created the new image with over four hundred square plates of color aquatint. He matched the plates to each pixel, locking the organic form into a grid-based structure, which calls to mind digital media. Fascinated with replication, perception, and translation, Fisher invites viewers to discover for themselves the existence (or not?) of an underlying pattern.