Umberto Cavenago’s recent sculptures display identities that pertain to the realm of the industrial or mechanical. Works such as Camion (Truck), Gru (Crane), and Motocicletta (Motorcycle), (all 1987–88), function as playful surrogates for those things that their titles describe. Deprived of a practical relationship to their site, these surrogates quickly spiral back toward the locus of their removal. They seem to provide more information about their identities as machines than as art objects. For this exhibition, Cavenago has constructed simple forms that establish discourses with the negated