New York

Keith Sonnier

Castelli Gallery

Recently Keith Sonnier has worked toward two ends—tightened geometry, at least insofar as individual units are concerned, and environmental theatricality. I am still not convinced that these ends are congruent although Sonnier’s prevarications are, by moments, capable and realized solutions to these antithetical propositions.

But there is a lot of weak work. I say this gingerly, taking into account my confirmed view that Sonnier is, with very rare exception, one of the valuable and talented artists we have. The swarm of imitators and hangers-on who have pullulated in one year is proof enough of this. The weakest works were those which partook of a straight aleatory distribution—even as they were at the same time handsome. A yielding yet massive pile of folded and tossed foam rubber near the warehouse entry should suffice as example of this.

Far more complicated, and thereby liable to more

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