This has lead me to a few different outcomes.
Below: This typeface is made from modular forms found in the artworks themselves. The exhibition didn't display any information about the intentions behind any of the pieces, which made me feel isolated as a viewer.
This type face invites viewers to look closer at the pieces exhibited and to find familiarity in them. The idea behind it is that everyone can find a meaning in art, no matter how abstract it is.

The below type experiment was created by imagining a floor plan of the gallery and following the directions that people walked, where they lingered longest, what they circled back on, I was able to create a sort of map. After mapping out these imaginary lines, I could trace parts of them to find letter forms. These letter forms were then experimented with further in illustrator.
The typeface I am developing now is based on a hierarchical grid, where the top quarter is disproportionally larger than the one under neath it, which in turn is larger than the quarter underneath that and so on. However, the font is only legible when all 4 quarters are included. This represents how the general public may not have as much input into modern art discourse, but it is important just the same. The end result of using this grid has created a font which looks part playful part serious, cheeky yet approachable. You almost feel that it's laughing, but are reassured that you are not the butt of the joke. (Note not all characters are completed, this is still a draft)

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