RICHARD MEIER CAUGHT THE ATTENTION of the art world once more by reappearing on the museum scene with two intriguing installations last winter. At Cooper Union his white architectural models (of constructed as well as unrealized projects) engaged in a coherent dialogue. His darkened labyrinth entitled Metamorphosis, at the Cooper-Hewitt Museum’s inaugural show,¹ functioned as a compelling giant anagram game of literary conception: letters aligned in endless permutations to form flexible walls and ceilings of words. The release of Meier’s own documentary book² and the recent completion of his