Kitty Kraus’s show should have come with a warning sign, although it is still not clear what posed the greater danger, the work to the visitor or the visitor to the work. Signs of Minimalism, mixed with Constructivism, were there—severe geometrical constructions (made with glass) and black squarish forms (made with tar, ink, and cloth)—yet these elements were at once threatening and fragile, like magnified versions of the delicate instruments used for open-heart surgery.

The most conspicuous works—all Untitled, 2006—consisted of pairs of transparent glass panes that had been cut in angular shapes,