FOR GABRIEL SIERRA, function follows form: In an inversion of the old modernist dictum, his objects seem as if they are useful, but just what for is often ambiguous. Indeed, the artist studied industrial design in Bogotá, Colombia, and this technical background has been progressively twisted, cloaked, and extended in his work. In Hang It All, 2006, a wall-mounted metal structure produced in three sizes supports an array of lemons, pears, apples, and the like, each piece of fruit stuck onto a prong. The reference is immediate—Charles and Ray Eames’s famous 1953 “Hang It All” coatrack, a modernist icon whose metallic armature bears colored balls at its tips. If the Eames piece is cheerfully redolent of mid-century scientism (atomic models come to mind), abstraction, and progress, Sierra brings raw nature back into the schema of industrial design. Replacing the polished spheres with fruits,

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