The ideas for these architectonic wall panels were spawned in the early winter of 2001. Nguyen's work began to evolve into a more reductive manner than his previous organic based sculptures. His concerns were steered away from the object and the form, and now focusing more creating the images within the glass. The panel series became a mean to explore the usage of glass in a two dimensional manner, where the application of the material is used solely for its intrinsic qualities of transparency, opacity, and plasticity. This body of works echoes the forms of Donald Judd, Carl Andrea, and the other Minimalists of the seventies. Continuing this visual dialogue, these forms are also akin to the paintings of the Color Field studies of Mark Rothko and Helen Frankenthaler of a decade earlier. Here, the visual elements inside the panels became the paramount concerns and its reductive forms play only a minor function in the overall concept of these pieces.