The sculptures of Nagasawa are characterized by a balance between Orient and Occident, a balance that was more than ever apparent in this show of seven new works (all but one from 1988). From the East, he has drawn from his experiences as a student of the martial arts (he is a karate champion), with the meditative and philosophical depth that that implies; to the West (he lives in Milan), he owes his attitude toward artmaking—as an expression of form and a translation of materials—under the constant stimulus of present and past works of art.

The show began with Ponte di pietra (Stone bridge),

Like composites, collages, or montages, Andreas Schulze’s paintings present images of radically different origins. The “real” in these works—a carton of Merit cigarettes, a pair of mirrored sunglasses, a lemon, or a lantern—are familiar objects of collective experience or memory. However, these “real” images, which belong to no one and everyone simultaneously, are removed from their familiar contexts. Thus the viewer can’t read them as references to the artist’s—or anyone’s—unique experience. Schulze has pushed “reality” into the meaningless realm of information; these collaged or montaged images