George Stone’s latest installation evoked a scene from a morgue: ten gun-metal gray latex sheets, doubled to form what looked like body bags, lay stretched out on a concrete floor. Resembling useless oxygen tubes, thin rubber hoses ran from the bags to a track fixture on the ceiling. Most macabre of all was the fact that the bags, seemingly filled with human remains, frequently stirred with uncannily lifelike movements (made by robots fabricated with PVC tubing that mimicked the articulated human joint). These figures abruptly recoiled into fetal crouches or slowly stretched out creaking limbs,