Take a table. Fry two eggs and place them side-by-side at one end. At the other, take a kebab and put it in the middle. Seen as a sculpture, these elements pointedly assert their sheer materiality. Even so, to not see them as breasts and a vagina is impossible. Roughly thirty years before Sarah Lucas made Two Fried Eggs and a Kebab, 1992, featured in this British artist’s midcareer retrospective, Robert Morris argued for a “literalist” art—devoid of parts—that would deflect anthropomorphic readings. This idea became a standard for Minimalist sculpture. Even though Morris’s unitary gestalts trace

Martin Munkácsi left Berlin in 1934. A photojournalist from Hungary, he had worked there for six years, rising to become one of the principal photographers for the Berliner Illustrirte Zeitung, until the worsening political situation compelled him to emigrate to the US. There he gained new renown, this time as a fashion photographer. Munkácsi advanced to become the best-paid photographer of his time, rising as quickly as he would later, ultimately, be forgotten. When he died in 1963, Richard Avedon was nearly alone among his colleagues in paying tribute to the former prince of photography.

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