A few years ago Manuel Neri’s carved plaster figures were a familiar sight in San Francisco. He was a sculptural relative of the broad-brush figurative painters who enjoyed a period of ascendency in the Bay Area. The new work is still often in stucco plaster, and the carving is still there in places, but the human figure is entirely absent, and the new form is a low, wide ziggurat, looking much like some monument from the past still showing its basic form, though ruined and eroded. Some are exhibited on the floor, some on the wall, and perhaps all could be used either way. One group of three