Meta Trapezoid (Iridium Gold) presents a luminous, large-scale sculptural form that seems to generate light from within rather than simply reflect it. Executed in blow-molded acrylic, the work achieves a surface quality that shifts between solid materiality and near-dematerialization depending on the viewer's position, angle, and the ambient conditions of the space it occupies. The trapezoid geometry grounds the composition in classical proportion while the iridescent gold finish pushes it toward something altogether more ineffable, hovering at the boundary between object and phenomenon. Gisela Colón has built a practice around what she calls the Minimalist sublime, extending the formal vocabulary of mid-century hard-edge abstraction into a register that is sensory and even metaphysical. Born in Puerto Rico and based in Los Angeles, Colón works consistently with advanced industrial fabrication techniques to produce forms that carry the precision of manufacture yet feel deeply experiential in person. The blow-molding process she employs allows acrylic to be shaped into smooth, tensioned curves and facets that no hand-finishing could replicate, and in a work like this one the result is a surface alive with internal chromatic incident. At 228.6 centimeters across, Meta Trapezoid (Iridium Gold) commands architectural scale and rewards installation in spaces where natural or artificial light can play freely across its face throughout the day. The piece is signed by the artist and is being offered through the Aspen Art Museum Benefit Auction, providing collectors with both a museum-provenance context and a work that represents Colón at a confident, fully realized moment in her ongoing investigation of form, light, and transcendence.