In Mark Manders’ recent show clay torsos and pieces resembling parts of humans and animals lay in rows on the ground like finds from an archeological dig. They conjured up a strange array of images: crab shells, petrified embryos, deformed bodily organs, puppets. Manders arranged these fragments in rows according to similarities in their appearance, as though following some long-forgotten ordering system. These “bodies,” which sometimes have a dull luster, seem to express themselves through a vulnerable outer skin. One is tempted to touch them, even though many are very fragile—several “limbs”