This is a very atmospheric work whose central figure is cloaked in what seems like fog, only its upper torso and head visible - and its sword. The work's lighting also reinforces its composition, darkening towards the center, and the texture and moire give depth and movement to the fog, all coming together to create a truly unique and impactful work.

This is one of the gallery's earlier examples of pixel art, and one of the more composed works. Though quite coarse in texture, the color usage is good, with a lively yellow-peach gradient in the background, blue and cyan emphasizing the subjects of the work, and the magenta line segments help to create structure and give the work a sense of motion.

Gradient in Stages is a work that is unapologetically genuine in a way that almost no other work in this entire gallery can be, and which manages to be wholly unique in its compositional design. Very little of this work was manufactured after the fact - what you see is almost exactly what the monitor looked like before I took the photograph, and it remains, in my opinion, the most incredible monitor I have ever found.

This work uses Moire to its fullest extent. A neon pulse comes from one edge of the image, breaking up and causing cracks in some structure. The pulse's light illuminates the colors and textures of the structure, displaying rough bits of color. This is one of the most fascinating works in MOMA's galleries, with a lot of depth and an inventive and fantastic image. There is a lot to ponder here.

The name of this work is inspired by its intense warmth. Comprable, perhaps, to the surface of the planet Venus, only with less noxious gas. Like the planet venus, as Venerean Landscape ascends from the bottom, rises in altitude, it becomes less intense and more calming, to match Venus's upper atmosphere and general exterior appearance. Perhaps it is an utterly hellish place, but at least from our point of view, Venus is indeed a truly beautiful planet.