Lynda Benglis

Richard Gray Gallery | New York

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 probe and experiment.

Take, for example, Snakemare 1, 1991. A table-top sculpture with bronze attached to a stone base—a display system and combination of elements Benglis has never used before—it takes the form of a sinuous flow of whitened bronze, upheld at points by whitened bronze pieces that resemble

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