Aim I presents two cylindrical aluminum forms locked in precise vertical dialogue, their industrial surfaces activated by Liberman's characteristically bold use of monochromatic paint. Executed in 1980, the sculpture belongs to a period in which Liberman had fully committed to large-scale fabricated metal as his primary language, pursuing a reductive geometry that feels simultaneously engineered and lyrical. The work stands at just over two meters, a scale that commands physical presence without overwhelming domestic or institutional spaces, and its slender proportions encourage the viewer to move around it, discovering subtle shifts in how the painted surface absorbs and reflects ambient light. Liberman was among the first artists of his generation to embrace industrial fabrication as a legitimate sculptural process, and Aim I exemplifies the confidence that came with decades of refining that approach. The title carries its own quiet assertiveness, suggesting intention and trajectory, qualities that resonate in the upward thrust of the composition. The painted aluminum surface unifies form and color into a single declarative gesture, resisting the fetishization of craft while achieving an elegance that rewards close looking. Available in an edition of fifteen and signed by the artist, the work carries the provenance and integrity that serious collections require. Collectors acquiring Aim I through Lincoln Glenn are securing a work that sits at the intersection of American postwar abstraction and the Minimalist turn, without fully belonging to either. Liberman maintained a singular independence from movements, and that quality gives works like this one a durability that transcends period classification. As interest in mid-century geometric abstraction continues to strengthen across both primary and secondary markets, a signed, editioned sculpture from this productive late phase of Liberman's career represents a compelling and well-considered acquisition.