The visual convention of the grid provides a framework for order but it often separates agency from the audience and typically imposes an absolute way of seeing.

A more contemporary, post-colonial and pluralistic aesthetic approach might not use grids at all. When people become particularly insistent on the use of and alignment to grids without discourse around their origins or legitimacy, this occurrence often reveals the absolute and totalizing qualities of the underlying dogma related to grids and some systems, which is not to say much about those who choose to enforce such systems of hegemony despite the fact of their inherent limitations and the exclusionary practices they perpetuate.

Exploring alternatives to despotic systems of hegemony such as the grid or any other conventions in art and design to consider those that have been overlooked due to the imposition of Western aesthetic hegemony and values can reveal a rich tapestry of unique experiences.

There is something regressive and inhumane about designing products that predominantly prioritize a western audience and impose that same accompanying aesthetic on the rest of the world.