Though this pair of exhibitions was primarily dedicated to Keith Sonnier’s latest work, the Halle Sud portion included several pieces from the ’60s. It was during this period that the artist introduced his signature materials including neon and glass, and it was interesting to see his “antiform” investigations once again. The spare materials and the neon installations that alluded to form without making it explicit have now been replaced by a dialectic between defined form-structure on the one hand, and its radical transgression on the other.

Though Sonnier delineates precise geometric forms, in