CHARLES RAY’S ELEGANT EXHIBITION at the Kunstmuseum Basel and Museum für Gegenwartskunst “Sculpture, 1997–2014,” turned on one question: Is he classical? It seems strange to ask this about an artist who spent the 1980s inserting his own scruffy body into minimalist oblongs, before lending the trauma-obsessed early ’90s such key sculptures as Fall ’91, 1992, an eight-foot-tall mannequin in a poisonous-pink skirt suit. Yet certain aspects of the latter’s more modest counterpart in Basel, Aluminum Girl, 2003—her creamy skin, stern cheekbones, hairless vulva, and orb-like eyes—are undeniably