Having studied architecture at the Pratt Institute, Levin brings this architectural approach, as well as some of the field’s conceptual problems, to his work. Levin frequently uses reflective surfaces and materials in order to explore the dialectic between the viewer and his or her environment, serving to highlight the instability of human perception. For example, pools of pigment and oil often accompany his convex diptych panels in order to obscure the viewer's access to the work's literal profile.
For The Box, Levin has advanced this idea further by producing a marble basin in which water mixed with oil pigment and graphite will circulate. The motor activating this effect will create a dimple and shimmer in the opaque surface, distorting the viewer's reflection when he or she peers into it. The dark, navy liquid will contrast with the cold, hard organicism of the white marble basin, referencing the mixture of technology and natural materials that characterises Modernist architecture, especially that of Mies van de Rohe, who is a regular touchstone for Levin.