The paintings and drawings in this exhibition, executed in oil and lacquer on canvas or on paper, focus on the representation of a single theme—the megalith. The collection of small-format works were arranged like the stones of a Celtic cairn. The sense of isolation in the large-format works, like that of the menhirs in the desolate landscapes of England or Brittany engender an immediate sense of mystery.

Yet two decades of earthworks—the rocks of Richard Long, or the works of Michelle Stuart—have made us accustomed to analogies between contemporary artistic production, and the ritual monuments

Some people collect art (or stamps or coins); others just collect. Daniel Spoerri is decidedly in the second category. As this retrospective demonstrated, he has been collecting everything from eyeglasses, vegetable peelers, and shoe trees, to artificial limbs, animal horns, and the worktables of his artist friends for at least the past 30 years. Unlike the rest of us, Spoerri has not simply filled his closets with the flotsam and jetsam of daily life. Nor, in most instances, has he opted for the artistic alternatives of estheticizing or appropriating it; rather, to use his own term, he has “