With over 120 sculptures by 33 artists, “German Expressionist Sculpture” is something of a blockbuster. Curator Stephanie Barron has resurrected works that many never knew existed or had thought destroyed: sculptures by artists who defined Expressionism in painting, like Ernst Ludwig Kirchner, Egon Schiele, and Max Beckmann; by the few recognized sculptors of the period, Ernst Barlach and Wilhelm Lehmbruck; and by many relatively unknown ones such as Paul Rudolf Henning, Bernhard Hoetger, and Christoph Voll. Together the works suggest that sculpture, with its resistant physicality and the

Eric Orr isn’t known as a painter, but for his broader interest in the perceptual process. Consequently, he is often clustered with Robert Irwin, James Turrell, Larry Bell, and Doug Wheeler, among others. Yet he sees himself as a primitive. His new paintings—monochromatic, lead-bordered voids with Barnett Newmanish zips, inlaid human hairs, gold-leaf gilding, and areas of the artist’s own blood—tend to support this self-conception. This is not to say that Orr is a shaman or a naive painter, but that his stance is essentially ontological, not purely phenomenological. The buzz in the eye matters