Challenged by the hybrid forms that often appear under the term “installation,” sculpture—that is, discrete objects that deal with issues of mass, gravity, volume, open- vs. closedness, movement, materiality, color, structure, monumentality, etc.—has had a hard time maintaining a meaningful place for itself within contemporary art practice. If painting can at least still claim a privileged place on the wall, sculpture has had to compete with all other objects that owe their form to the third dimension, where everything that isn’t art also is. All the more surprising, then, is the great success