As with any truly interesting artist, Rebecca Rutstein’s artworks operate on multiple levels and can never be reduced to a single interpretive framework. And yet I feel confident in asserting that diagrammatic thinking plays an outsized role in her artistic practice. Just seeing the works I’m presenting here, much less knowing the context of their making, it’s readily apparent that her work is situated somewhere along a diagrammatic continuum, stretching back to the beginnings of science-based “conventional” diagrams and leading to more contemporary diagrammatically inspired art practices [see my About Diagrams and Diagrams and Art]. I began my first blog posting by listing various reasons why artists might be motivated to engage diagrammatic thinking in their work. I suspect one reason that drives Rebecca is the diagram’s capacity to visualize invisibles. Or so it would seem, as so much of her work is directly or indirectly influenced by her experiences as an artist-in-residence on board research vessels exploring the ocean floor at various sites around the world. Here she describes those projects in an artist statement: “Through ongoing collaborations with scientists, much of my recent work and upcoming projects focus on the deep sea, and shedding light on a world hidden from view.” (More detailed descriptions of these projects can be found at http://rebeccarutstein.com/projects/).