The following paper will be exploring the relationship between Minimalist Art and ideas of isolation, separation, and confinement. In particular, it will be examining sculptural works beginning with Minimalism’s inception in America in the 1960’s and ending with more contemporary methods of geometric abstraction. In “The Crisis in Geometry” (1984), Peter Halley questions modern society’s obsession with geometry that has driven us to envelope ourselves within these geometric environments. This paper is a reevaluation of this thesis, further elaborating on the faults of his argument through Anna Chave’s Minimalism and the Rhetoric of Power and various Situationist International writings. What I am interested in examining is the transitional period in which the works begin to refuse autonomous categorization and transcend their abstract qualities, further becoming ‘metonymous’ objects.