This very surprising exhibition marked a decisive change in the tactics and esthetics of Lynda Benglis—presenting what at first seemed to be an artistic about-face. Gone were the opulent and lush wallbound sculptures that have marked her work since the mid ’70s, those metallic rivulets and excrescences that progressively erupted from museum and gallery walls with incredible tactile boldness and irrepressible high spirits. In their place was something much leaner, a sequence of sculptures that reflect a pared-down and desiccating vision, seemingly the residue of the artist’s determination to

Josh Garber executed this suite of sculptures during a recent residency at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, and this body of work definitely gives the feeling of being a finite project, a systemic response to a specific artistic agenda. Taking advantage of the foundry facilities at the Kohler, Garber cast five large sculptures— Touch , Contain, Grip, Hold, and Merge (all works 1992)—in iron or brass, and then for each piece produced four smaller versions in a variety of materials with differing surfaces. Each separate object was informed by and made somewhat dependent