As in Jim Isermann’s previous exhibitions of wall panels, lamps, clocks, and freestanding furniture, the domestic-minded sculpture here is a homage to industrial folk objects of the ’50s and ’60s. Isermann allies himself most closely with the vernacular offshoots of high Modernist design—work more eccentrically colored, more wildly curvilinear than that of Marcel Breuer, Eero Saarinen, Charles and Ray Eames, and others, upon which it performs variations. Isermann assumes this posture not to mimic vernacular craftsmen but to use their transformations of earlier designs as a stimulus for a fresh

Since the late ’60s Michael Heizer has “cut,” “dragged,” “elevated,” “isolated,” “compressed,” “levitated,” and “collapsed” objects in relation to their sites, revealing each as tensive situations. The word “tensive” is significant: with its root, the verb form “tense,” and like the words “dragged” or “isolated,” it can express a passive state of matter or an action. Heizer’s droll one-liners precisely describe certain physical conditions of sculpture, as well as the procedures by which those conditions are exposed. A boulder cut is a cut boulder. Indeed, Heizer’s work is typified by a state of