Viewers who have been following the perspicuous development of Manfred Wakolbinger’s work may have been caught off guard by this recent group of pieces. In an ensemble of three copper-sheet sculptures, accompanied by large-format photographs, this young Austrian inaugurated a new phase in his artistic evolution. Since 1983 Wakolbinger has been working on a kind of evolutionary history of the mutual relationship between pedestal and sculpture, foregrounding this problem to a degree that has rarely been witnessed since Constantin Brancusi and Alberto Giacometti. The artist initiated this line of