In his current exhibition Vito Acconci installed five large-scale sculptures. Two gigantic steel bras each entitled Adaptable Wall Bra (all works 1990), ooze little balls of plaster from their wire mesh surfaces. Inside, the “Z” cups are lined with smooth plaster and fitted with little canvas seats, and a tape plays a recording of a woman breathing alternating with music from a radio station. Dwarfed and intimidated by these gargantuan heavy metal bras, a state of worshipfulness is induced in the viewer. They resemble complicated webby cathedrals towering high above the head and suspended at

Like most Minimalist sculptors, Robert Grosvenor explores the dialectic between object and surrounding environment in order to disclose a semantic space in which work, artist, and viewer can coexist in mutual contingency. While this strategy has remained consistent since his first gravity-defying geometries of the ’60s, the artist’s concerns have evolved considerably. The early indoor works, with their often enigmatic relationship to the surrounding architecture, tended to expand formal issues into more fluid areas of supplementarity and reception: Does the work supplement the space? Does the