Charles Ray had planned to show three pieces here, but problems with installation reduced the show to one: a single spinning disc of cast aluminum set flush in a false floor that was constructed in the front half of the gallery. This fortuitous circumstance showed the piece to best advantage, allowing it—even in its virtual invisibility—to activate the entire space. Ray’s work could, I suppose, be read simply as a technical tour de force. But the degree of fascination it provokes justifies a more complicated reading, connecting it to the current exploration of the commodity fetish in art. Because