TABLE OF CONTENTS

Alison M. Gingeras

1 Charles Ray’s “A four dimensional being writes poetry on a field with sculptures” (Matthew Marks Gallery, New York) An elegant exercise in distillation, this show was proof once again that artists are often superior curators. Ray condensed his analytic vision of sculpture—attuned specifically to how the medium defines and occupies “social space”—into four formally and conceptually disparate yet equally compelling works by four different artists. Alberto Giacometti’s austere portrayal of the female form (Standing Woman, 1948), Mark di Suvero’s monumental, precariously balanced assemblage of subway-inspired beams (The A Train, 1966), Edgar Tolson’s disarmingly charming narration of the book of Genesis (The Fall of Man, 1969), and Jeff Wall’s creepy two-dimensional mise-en-scène of middle-class Americana (A ventriloquist at a birthday party in October 1947, 1990) did not vie with

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