An installation varying in shape and scale was exhibited alongside Forsythe's art peers as part of the interim exhibition Bardo.
Forsythe's studying has shifted her perspective relating to how art is experienced. This newfound knowledge contributed to the realisation of this installation. Geometric Irradiation showcased varying sculptures that all require motion to become animated. This integration of motion sensor lighting was decided on by Forsythe as she began to explore what the beholder brings to an artwork.
Her readings relating to Minimalism and Micheal Fried's, Art and Objecthood (1967) have moulded the way in which she creates. The discussion relating to the art object during the 1960s raised speculation regarding the anthropomorphic presence that Minimalist sculptures create. Further research exposed Fried's views in his essay that converses towards the end of the writing about theatricality within art. Since reading his essay, Forsythe began to embrace the animated quality evident in her use of lighting and acknowledged that her art not only requires presence but also exuberates a presence.
