Today, after many quiet years, Mohsen Sadeghian appears again. Life’s adversities and the plays of the years have not thrown him off his course, and he is still focusing on the “Wooden Spaces” to portray his present. Now we encounter the back of the glass. The space is still the wooden environment resembling a large box. However, entering the boxes is not direct anymore. A glass obstructs your direct entrance. What is more observable is the explicit internal architecture of the boxes. In his older works, he easily and directly granted access to his sanctuary’s close proximity, however it is not that way anymore. The topography of his pictorial codes is only possible with the aid of the earlier works’ tangible evidence. The presence of numerous layers today makes our passage difficult, and his perpetual concealments prevent us from determinate understanding of the forms and events. It seems to me that in encountering his recent works, I have two interpretations: First, the contents and internal components have found an organic connection with the external frameworks, and he is portraying a unity. Second, the frames have not exited their situational environment and are still protecting the meanings. In both interpretations, his arrangements as well as his compositions of materials and elements are admirable. The preservation of time, particularly the preservation of grand dusty time, is an indirect impressive reference becoming meaningful for me today. The regulated internal divisions portray his explicit judgments about static stories. Preservation of beliefs, perseverance of internal lines of passage over the years from one angle, and experimentation with the non-traditional ways of imagining from another, have created a genuine personal language in a corner of Iranian Contemporary Arts.