Paloma Varga Weisz has a name almost too good to be true: Teutonic and Northern in one part, Latin and Southern in the othersthe novels of Thomas Mann in one person. Fun with people’s names is just fun, of course, but Weisz’s work does have the schizoid tension this particular game implies. At first glance her sculpture looks somber and conjures the sacred, and the works shown here, in an exhibition titled “Chor ” (Choir)her first US solo appearanceexplicitly address the psychic space and physical furniture of the church: Weisz’s carved busts, and their limewood medium, recall the religious statuary of old Europe, and their arrangement along benches suggests both the ornamented pews of early houses of worship and the people who might once have sat therewomen in cowls and butterfly headdresses, men in monk-like habits or lavish fur bonnets. Yet some of the figures
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