David von Schlegell makes sculptures in a monumental Minimalist vein. It seems as though every known code of contrast is used, including square and triangle (Dead Reckoning, 1988), thick and thin (Moth, 1987), wood and steel (Relic, 1987), hand-carved and machine-produced (Orient, 1986–87), and so on, with many works multiclassifiable. In a sense, the sculpture’s “sublime” character is in its combinatorics—the sense of potentially infinite permutation, a spreading plot in which each work is implicated in the other.

Every sculpture in this exhibition takes as its basis a square, whose flatness is