Hayden Gallery, M.I.T.

The artists included in the “Corners” exhibition come to the theme from such widely disparate starting points that any explicit overview of the issue is made almost impossible. Although all the works in the show (with the exception of one or two) have at least some vague connection to either an inside or outside corner, only two or three of the artists extend our ability to comprehend the concept of “corner” fully.

Several objects do focus our attention toward the intersection of two wall planes. Richard Artschwager’s Corner 11, 1964–1979, is a marvelous, quirky object that might as well be a cheap formica-grained stereo speaker as a sculpture. Its slightly tacky geometry and surface and the height at which it is displayed in its own corner (about 4 feet) suggests a homey domestication of the architectural angle. Bryan Hunt’s Lure 1, 1978, does not so much hang in a corner as appear to have

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