Giorgio Vasari’s tale about how Paolo Uccello would sit at his desk late into the night, drawing obsessively, refusing his wife’s entreaties to come to bed, muttering, “What a sweet mistress is this perspective,” vividly describes the fascination that geometry holds for some artists. It can become something of a fixation, this immersion in a parallel universe of perfect order, the ceaseless tweaking and elaboration of the architectonics of form, the testing of line in pursuit of visual balance that rapidly becomes a compulsion. In his modestly scaled sculptures and drawings, Richard Rezac