The recent steel sculptures of Anthony Caro have a quiet and honeyed air about them. They have an ease of articulation, a measured and thoughtful equipoise that seems to still time and preserve order. Caro is fully aware of the heady ambitions of this body of work; in a statement accompanying this exhibition, he described the remnants of architectural sculpture at Olympia, and how “the contrast of the volumetric moving forms set against the crisp and the geometric” led to his “resolve to make pediments and metopes of my own in steel.”

Each of the five sculptures shown here is dominated by the

Over the past 20 years James Rosenquist has resided part of each year in Florida, and his ruminations on its clime have formed the context for his recent work. He evokes the tropics in lush, dank, and humid paintings bordering on the overripe, almost bursting their edges like some unnaturally forced exotic flowers. Photo-based elements accrue toward excess. As in his earlier work, Rosenquist layers and interweaves multiple images that all seem to call simultaneously for our attention, stubbornly resisting easy hierarchical or sequential reading. These are insistent pictures, scenarios that