Millstätter See brings together two of the most elemental materials available, wood and rocks, within a compact relief format that belies the conceptual weight Könitz consistently draws from humble sources. At just under half a meter square, the work operates on an intimate scale that mirrors the handmade sensibility central to her practice, inviting close looking rather than the sweeping gestures of the monumental modernist forms she both admires and interrogates. The title references a lake in the Austrian state of Carinthia, layering a specificity of place onto what might otherwise read as an abstract arrangement, and in doing so, Könitz collapses the distance between landscape, memory, and the designed object. The result sits comfortably between sculpture and relief painting, occupying a productive ambiguity that collectors of works engaging materiality and conceptual rigor will find generative. Könitz has built a practice recognized across institutions including the Whitney Museum of American Art, the Hammer Museum, and the MAK Center for Art and Architecture, with solo presentations at Commonwealth and Council in Los Angeles and the Museum der Stadt Mülheim an der Ruhr, among others. Her approach treats inexpensive, readily available materials not as limitations but as arguments, positioning her work against the polished authority of high modernist design while remaining genuinely affectionate toward that tradition. Millstätter See reflects this conflicted appreciation with characteristic economy, finding in stones and timber a quiet poetry that recalls mid-century utopian design ideals without indulging in nostalgia. Signed by the artist, the work ships from Los Angeles and represents a strong opportunity to acquire a 2022 piece from a sculptor with a deeply coherent and increasingly recognized body of work.