Although Isa Genzken’s recent exhibition was dominated by the five wooden towers displayed in the gallery’s main space, the show also included three books of collages, and a wall assemblage made of crushed household appliances. That these efforts represent a fundamental departure in the artist’s oeuvre becomes clear when they are compared to such earlier series as the “Epoxidharz,” 1992 (translucent sculptures made from epoxy), and “The Hat and Lamp Sculptures,” 1992–96 (objects that turn slowly on their axes with the aid of a small motor), sets of pieces that were all fabricated according to