In 1949, Sigfried Giedion described modern sculpture as having atavistic elements, as divulging “a reminiscence of the eternal source,” adding, “Its essence is to be sought in the way it shapes and forms space.” In these terms, the new pieces by Susana Solano are thoroughly modern. By dealing with the sculpture of the ’60s without quoting it and, additionally, by including the seemingly utilitarian esthetics of furniture sculpture of the ’80s without stylizing it, Solano places herself firmly within the discourse of contemporary sculpture. This exhibition consisted of four recent pieces, one of