On September 26, Royale Projects opens two solo exhibitions that read like inverse arguments about the same question: what a surface owes to the hand that made it. Ladan Sedighi's *The Paradise of Cyrus* takes the industrial vocabulary of Southern California minimalism, holographic film, vinyl wrap, acrylic sheeting, and bends it toward the luxury of her own Iranian heritage, tracing the Persian garden back to Cyrus the Great's Pasargadae, where water channeled through qanat systems held the same light and reflection she now builds into grid and panel. Bradley Harms arrives from the opposite direction. After decades of mechanical precision and the borrowed logic of digital art, *Everybody's Perfect* turns to the processes of the home, cutting, dyeing, ironing, sewing, stuffing, building paintings that behave less like windows than like things handled and lived with, half remembered from childhood before they are understood by the eye. Sedighi finds warmth inside industrial material. Harms finds instability inside painting itself and builds around it rather than against it. Both shows run through December 5 at the gallery's Arts District space.