„Eternal Figures“ (1974) besteht aus drei Grafit-Zeichnungen auf Papier, in denen Kuehn geometrische Formen mit gestischen Zeichenstrichen überlagert. Kreis, Quadrat und Dreieck drücken sich wie Schatten durch das Blatt und stehen gegensätzlich zur unkontrollierten Zeichnung. Die Erforschung der Kontraste zwischen grafischen, malerischen und skulpturalen Elementen und der Spannung zwischen Geometrie und freier Geste stehen in Kuehns Werk stets nebeneinander und bilden eine Ambiguität, die der Künstler auf psychologische Ebenen überträgt: „I made hundreds of works that tried to address the question, in the broadest sense, of what could a drawing be. At the beginning I thought that my approach was formal, investigative, and rational. Looking back, I can see how fraught and psychological it was at the same time. I think all my issues about freedom, constraint, paranoia, social controls, societal controls were lying just beneath the surface in those works.”

"Eternal Figures" (1974) consists of three graphite drawings on paper in which Kuehn superimposes geometric forms with gestural strokes. Circles, squares, and triangles appear like shadows on the sheet, contrasting with the uncontrolled drawing. The exploration of the contrasts between graphic, painterly, and sculptural elements and the tension between geometry and free gesture are always juxtaposed in Kuehn's work. These lead to an ambiguity that the artist transfers to psychological levels: "I made hundreds of works that tried to address the question, in the broadest sense, of what could a drawing be. At the beginning I thought that my approach was formal, investigative, and rational. Looking back, I can see how fraught and psychological it was at the same time. I think all my issues about freedom, constraint, paranoia, social controls, societal controls were lying just beneath the surface in those works."