Not far away, Anthony Gormley showed a series of sculpted bodies which shunned the political for metaphysical allures, secreting a pervasive and eternalizing calm. Gormley’s spare, eerie figures seem primed by primordial forces, their smooth bodies, scored by quadrant lines, marking the axial coordinates of space. Here they crouched, squatted, or sat rolled into a knee-to-elbow ball; one strode his environment like a Giacometti, while another lay stretched out on the floor. Because they are molded forms (composites cast from Gormley’s body parts), these lead-plaster-and-fiberglass figures seem