The call for a return to order, to a new classicism, has become increasingly audible lately. Here, as in Ulrich Horndash’s “Hellas” installation, it has taken the form of homage to the genius of classical Greece, the infinite productivity and vitality of the Greek spirit. This is not motivated by a thinly veiled nostalgia for antiquity but by the conviction that we are indebted to that culture for our principal models of the world—Heracitus’ view that permanence is an illusion of the senses and that the only reality is change, the constant state of becoming; Plato’s theory of unchanging Forms,