Judith Scott was an artist based in Oakland, Calif., who made abstract works from fiber and found objects. Some of them are small and slender, like a hunter-gatherer’s quiver. Some are large enough to cradle in both arms. Some you would need a shopping cart to move. One actually is a shopping cart, piled high with seemingly random objects and cocooned in white string.

That piece and many others are on display through March at the Brooklyn Museum in “Bound and Unbound,” a comprehensive survey of Ms. Scott’s art. The title is apt. Ms. Scott’s method was to use yarn, string and knotted fabric to wrap mundane materials, like crutches, bicycle wheels and plastic tubing, to the point of transformation. The shrouded objects are often left unrecognizable. The results are bafflingly beautiful.

Some works once reminded a Times critic of “the animal-shaped kono power objects of the Bamana people of Mali.” But it’s safe to say of Ms. Scott’s art that the Bamana people have nothing to do with it, and that any detected symbolism or allusion is a viewer’s projection.

Ms. Scott had no formal training, no education to speak of, could not hear or speak and had Down syndrome. Her work exists without explanation, even as to how it should be displayed. Right-side up or down is a curator’s assumption. Every one of her 200 or so pieces is “Untitled.”