Matthew Craig uses both the language of abstract painting and the spatial organization of Minimalism to explore the politics of meaning, often complementing subtle humor by employing an austerity akin to the Support Surface artists of 1970's France.

The paintings exhibit a minimal amount of information, with color often running right off the edge of surface, suggesting more lies outside the frame of a given painting. In their simplified, semi hard edged presentation, the work very quietly echos the architecture where it hangs, the visual idea extends into the space of a given room, subtly heightening the viewing experience and drawing more attention to the material of which it is made, of what the room is made, and of what we are made. The slippage between frame, image, and “real” space are furthered as the room becomes a functional frame for the work, the building frames the room, the sidewalk the building, etc; the people in the room are implicit, ultimately completing the idea.