New York

Sylvia Stone

Tibor de Nagy Gallery

The gentle, precise elegance which characterizes Sylvia Stone’s tinted plexiglass constructions is not able ultimately, I feel, to overcome the more dominant impact of the incongruity of their hanging, wall-projecting, or floor-spanning states. While Miss Stone does not attempt to conceal the literalness with which each shaped expanse of plexiglass inhabits our space—the large freestanding piece, for instance, supporting itself very obviously by means of a neat rectangular outgrowth of the same material—neither does she in any way contend with the literalness. She seems merely to borrow the free-standing state of sculpture, or the wall-hanging state of painting, in order that each work be seen by the viewer in the appropriate way, as it were. Her easy acceptance of the supporting function of the ceiling, walls, and floor of a given room as integral to the existence of her art, confers on

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