Barry Flanagan’s sculptural variations on the theme of the hare are as fecund as the symbolic equivalents this animal has evoked in images and literature since the Middle Ages. Flanagan’s contributions to the artistic dossier on the trickster rabbit run the gamut here from the droopy but statuesque Large Boxing Hare on Anvil, 1984, to the highlight of the show, Baby Elephant, 1984, which combines the speediest hare in the West poised on the head of its polar opposite—the solid, balanced elephant. In medieval imagery, the rabbit is seen as the furry beast of Venus. The animal’s overtly sexual

Tony Cragg and Richard Deacon are only one generation removed from Flanagan, but the differences between their approaches and his are striking. While Flanagan models clear distinctions in traditional materials with legible symbolism, Cragg and Deacon, members of a current export category of New British Sculpture, use heterogeneous materials to question assumptions of conventional sculpture and to demonstrate that materiality and legibility are at least questionable requirements. This carefully selected exhibition exposed the obvious differences between Cragg and Deacon, but it also allowed