• Sarah Sze

    New Museum

    If a work of art sits still, you look at it; if it moves, you’d better watch it. Sarah Sze’s Many a Slip, 1999, differs from most sculpture in that it bears watching as much as being looked at. It doesn’t just occupy a certain space, however elegantly or inventively. Rather, despite the fact that it has almost no moving parts—only, for instance, a fan, the kind of thing that moves but stays put—the work seems to make its way through space, to ramble, meander, or extravagate: to start at Point A under certain conditions and then somehow, by the time it’s inched its way gingerly over to Point B,

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