An exhibition long overdue in Boston, Six Sculptors reflected various modes of sculpture-making, running the gamut of current idioms from free-standing objects and wall reliefs to architectonic constructions and ephemeral installations.

The small skeletal relief platforms of ALAN MOTCH make all too obvious references to industrial structures and engineered frames. These are not concerned with the same type of brute force required to build actual trestles or wharves; in fact, they almost negate load-bearing gravity. Precious in scale, they sit lightly on otherwise blank whitewalls. But because they float in space, the reliefs are unable to maintain a powerful presence. Instead, these miniatures strike a balance between human scale and delicacy. They exist like long, even elegant, marks and gestures, the remnants of the artist’s activity transformed into three-dimensional projections.

—Ronald J. Onorato