Thomasine Bradford’s new work is philosophical without abandoning its concrete physicality. She uses materials and strategies reminiscent of Jannis Kounellis to create a formal and personal vision of female embodiment. The “Unsigned” series, 1987, is ambiguously figural. Bradford has set roughly cube-shaped glass vessels (each about 12 inches on a side) on standing shelves made of weathered scrap wood. The vessels refer simultaneously to the place of women’s bodies in Western, Christian society (vessels of both iniquity and reproduction, bearers of milk) and to the art forms considered appropriate