Lauren Davis Fisher's *New Structures, New Orientations* (2013) assembles dimensional lumber, tensioned cable, and suspended light sources into a spatial composition that tests the boundaries between sculpture and architecture. Rather than presenting a fixed object, Fisher constructs a field of relationships, where raw building materials typically reserved for framing and infrastructure are elevated into a meditative inquiry about form, support, and orientation. The work responds actively to the space it inhabits, with its variable dimensions allowing the piece to shift in character and scale depending on its site, emphasizing Fisher's interest in how physical structures shape perception and bodily experience. Originally installed at Human Resources in Los Angeles, the work reflects a significant moment in Fisher's practice, one in which the studio and the gallery merge into a testing ground for spatial ideas. The title itself functions as a kind of proposition, suggesting not only formal arrangement but also a reorientation of how viewers inhabit and read three-dimensional space. The inclusion of light transforms the utilitarian vocabulary of construction into something more contemplative, casting shadows and gradients that soften the industrial character of the lumber and cable while drawing attention to the invisible forces, tension, weight, and gravity, that hold the composition together. Now presented through the Hammer Museum, this signed work represents a compelling entry point into Fisher's ongoing investigation of built environments and their psychological resonance. For collectors drawn to process-oriented and site-responsive practices, *New Structures, New Orientations* offers both conceptual depth and a striking physical presence that rewards sustained engagement.