Purse, Iran, Mid to Late 3rd Millennium B.C. presents a quietly disorienting convergence of archaeological imagination and contemporary object-making. Ry Rocklen arranges ceramic vessels against a mirror-mounted panel framed in brass and glass, producing a work that simultaneously reads as display case, shrine, and still life. The reflective surface multiplies and destabilizes the vessels, collapsing the distance between viewer and artifact while raising persistent questions about how objects accrue meaning through institutional framing and the passage of time. Rocklen's practice is rooted in a sustained fascination with found and fabricated objects that carry the residue of human use, ritual, and taxonomy. Here, the title performs as much work as the physical materials, invoking a specific historical and geographic provenance with the precision of a museum label, yet the designation functions as provocation rather than documentation. By borrowing the language of archaeology and applying it to his own sculptural constructions, Rocklen interrogates the authority of classification itself, asking what separates an artifact from an artwork and whether that boundary has ever been stable. At 54 by 62.2 by 24.1 centimeters, the work maintains an intimate scale well suited to private collection, inviting prolonged and close looking. Signed by the artist and currently available through Feuer/Mesler, Purse represents a strong example of Rocklen's mature output from 2015, a period when his engagement with material history and institutional critique reached a particularly focused and formally resolved expression. Collectors drawn to work that operates across conceptual, sculptural, and decorative registers will find this piece exceptionally rewarding to live with.