chicago

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, to turn out quite differently.

I’ve seen a few of Sze’s pieces in the short time since she first drew attention fewer than three years ago in the group show “The Name of the Place,” curated by Laurie Simmons at Casey Kaplan in New York (though her having become a darling of the biennials means I’ve

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