In a career now spanning more than thirty years, José Pedro Croft has constructed a visual and conceptual language that has begun to seem practically unshakable. Particularly in the past fifteen years, we have come to expect his work to be not just sculpture but more specifically metal structures with stainless-steel surfaces, sometimes painted or mirrored. Yet the recent project he developed with curator João Silvério for Appleton Square marks a clear change in his familiar materials and vocabulary.

Croft presented a new sculpture (all works Untitled, 2012) that is a reworking of a very large