New York



This exhibition of recent works by English and German sculptors, assembled under the title “Juxtapositions,” symbolizes and summarizes sculpture’s current revival. The question is whether the revival “advances” sculpture or whether, as I believe, it articulates the peculiarly strained and uncertain condition of the contemporary sculptural impulse. The methods used to make these works—based on the familiarly Modernist impulses of building, of collecting or scavenging, and of shaping a new nature (the neo-organic)—are already a sign of post-Modernist weariness. Their makers have simply combined these component impulses in different ways, with different degrees of emphasis on each one. To what effect? This is where the sculptural (and post-Modernist) “experiment” lies, and, I think, comes off ambiguously, for the poetic content generated seems peculiarly stillborn. The works here are perfectly

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