First there was this and, same piece, different view, this.

Five years later, there's this, more detailed view here.

Both Roy McMakin and Lead Pencil are quoting Louise Nevelson, of course.

"Rain Garden II," 1977, image via cyberpathway.com

But Lead Pencil's use of Nevelson is precisely the same as Roy McMakin's. It's McMakin's move, his field and his plow. (A non-McMakin variant on the Nevelson theme here.)

One more. There's Mariele Neudecker's "The Internal Slipping Out Into The World At Large" from 2000, with light streaming through a pair of Gothic windows.

And there's Lead Pencil's "Arrival at 2 a.m.," seven years later.

Maybe Lead Pencil's Annie Han and Daniel Mihalyo hadn't seen the Neudecker. I know they've seen Roy's work. He and they all live in Seattle, which is not that big a town. As I'm typing this, for instance, e-mails are circulating in Seattle art circles that make the same comparisons and draw the same conclusions. Just as I was thinking about it, I realized I had plenty of company.

Artists without ideas frequently hitch a ride on somebody else's, but Lead Pencil is itself a major innovator in making installation art from architectural premises. Unless I'm missing something, and I might be, there's no reason for them to piggyback.