Monica Bonvicini’s exhibition “Then to see the days again and night never never be too high” brought together a group of works that reasserted the basic assumptions of the artist’s creative path thus far. Addressing many of her recurrent themes as well as formal strategies, the show felt almost like a retrospective. Two rooms contained three sculptures from the series “7:30 hrs,” 1999–, which skillfully uses a spare and anti-rhetorical approach to confront the challenging issue of labor. These three-dimensional groupings were constructed by professional bricklayers following the instructions