‘Four’ not only refers to the fact that this is Bosmans’s fourth project with Gladstone, but also to the French word for ‘oven,’ a nod to the original function of the gallery at Gladstone 64 that was formerly a kitchen. The four ‘sand’ circles on the floor of this room allude to the location where the stove must have been. Made from bentonite, a healing clay powder, this site-specific installation is a continuation of Bosmans's body of work Sand Paintings, which invoke the decorative patterns originally created by women around stoves with the sand used to clean the floor. Architectural theorist Aaron Betsky addresses this historically gendered nature of architecture, comparing the self-construction of queer-identity to the construction of interiors: “Building up a fantastical world by gathering objects from all times and places.”