A common concept that runs through many of Suga’s works—regardless of whether they are wall-mounted assemblages, floor-based sculptures, works on paper, performances, or site-specific installations—is that he uses materials to establish an outer perimeter, or boundary, or frame, only then to deconstruct in one way or another. In Spatial Elements, Hollow Body, the lower-right quarter of the wooden backboard has been cut away and is now only alluded to by the negative space in the wood frame affixed to it. In Surroundings of Placement—(40) Suga has created a pair of discrepancies in the wood planks that follow the edge, where two of them are raised to form negative spaces between themselves and the wood base. The L-shaped formation in the middle subtly gestures towards each of them, showing how seemingly unrelated elements in the center and on the periphery can be connected.