The territory explored in this two-part installation, Leaning Missives/Floating Vessels, 1988, was the playground of the imagination. The missives, black-ink drawings on sheets of 8-by-6-inch galvanized tin, were installed in the gallery’s small entry space, arranged in two evenly spaced sets of 10 and one of 16 and set on shallow, eye-level ledges that traversed three of the room’s walls. The drawings depicted elements from Robin Winter’s familiar pictographic repertoire—quickly rendered, quasi-primitive images of maps, heads, and human or animal figures. While the rows of drawings could have

In this era of mega-Gesamtkunstwerk performance affairs, it’s rare to encounter works that actually deliver the new theatrical pleasures promised by the couplings of cross-genre collaboration and polymorphous mixed media. 1000 Airplanes on the Roof, a “science-fiction music-drama,” combined musical, dramatic, and scenic elements by its three collaborators—composer Philip Glass, playwright David Henry Hwang, and set designer Jerome Sirlin—in exemplary fashion. In practical terms, this hyphenate hybrid resembled a chamber opera, with its 90-minute length, limited character development, and constant