“Lynda Benglis: Everything Flows (1980–2013)” encouraged viewers to think of the artist’s imposing metalized pleat pieces and intimately scaled ceramic sculptures as closely related bodies of work, despite their significant formal discrepancies. Allowing the two series, created between the mid-1980s and mid-1990s, to coexist in all their difference, this exhibition revealed commonalities vital to Benglis’s practice, and the show’s title signaled at least one unifying thread: the artist’s belief that “everything flows.”

Pleat pieces such as Trippel II, 1988–90, and Toyopet Crown, 1989, capture