New York

Mary Miss

Rosa Esman Gallery

Much of Mary Miss’s recent work is based on spatial progressions, which provide her with a method of staking out and defining sculptural territory. A new piece shown here recently, as well as a film of a second entitled Cut-Off, executed in Flint, Michigan, in the fall of 1974, enlarge upon her previous investigations with considerable success.

Entering a rather small gallery the viewer is confronted with a crude, fence-like structure made of painted plank, propped up with 2 x 4s. Since it’s a bit higher than eye level, it can’t be seen over, and the first impression is of a rather formidable barricade that crowds and blocks one’s presence. At the end farthest from the door the piece reveals its true identity—a three-stage corridor with the second and third sections each a step higher and a foot or so narrower than the preceding one. As the eye travels through the piece, the sense of distance

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