The most arresting of the iconic images that have intermittently appeared in Rudolf Stingel’s work is doubtless the six-armed Buddha who holds in each of his hands a creative tool: brush, scissors, tube of paint, spatula, spray gun, and blender. In his recent show Stingel chose to exhibit two cast polyurethane sculptures from this series alongside works that appeared radically different—a group of abstract works on paper. This was clearly not, however, a demonstration of a willful eclecticism. While Stingel’s Buddha is an irreverent and amusing figure, the two sculptures continued an important

In this recent exhibition Richard Wilson chose to present only two works. Entitled Corner and Cutting Corners (both 1995), these were objects that he had dramatically altered and then wedged into corners of the gallery’s two rooms, leaving much of the space empty. Corner, installed in the larger room, was created by cutting off a triangular section of an Italian version of a Fußball table along the line of an imaginary corner kick, while Cutting Corners consisted of two metal file cabinets that had been cut up and reassembled—a slice having been removed from one and added to the other—so that