Eduardo Chillida’s sculptures are meant to be walked around and written around. For all of their apparent simplicity, these stately totems of forged steel and carved granite cannot be fully appreciated from a single point of view. From a fixed vantage (or a photograph), it is impossible to anticipate the unseen aspects, just as it is impossible to convey the experience of discovering them by cataloguing the dissimilar features of one not-quite-regular form or another. This is, it might be argued, the stuff of poetry—elusive and allusive—which may explain why Chillida’s commentators of choice