Jae Ko’s most recent sculptures are more aggressive in their physicality and more complex in their surface treatment than her earlier work. Ko uses large, tightly bound spools of adding-machine paper that she wraps, folds, and contorts like taffy. Her previous exhibitions featured low, largely symmetrical iridescent black or colored wall reliefs—round, ovoid, and square—whose subtle surface modulations suggested labia, the glyphs of Asian signature seals, or topographic models of old, eroded hills. The Washington, DC–based artist, born in Korea and educated in Tokyo, travels extensively in North