Nobody is going to want to admit that Tony Smith’s show of the Wandering Rocks at the Fischbach Gallery—five relatively small pieces fabricated in a dull, grey finish steel—is really about theater, more than it is about sculptural form, but that is indeed what the arrangement boils down to. Of course Smith has not abandoned his unpredictable and refined use of volume and geometry, nor the poetically expressionist implications of his enterprise, despite the modest scale of these works. The five separate pieces, Crocus, Dud, Shaft, Smohawk, and Slide sit on the floor of the dimly-lit gallery in