WITH “SCULPTURE AFTER SCULPTURE,” Stockholm’s Moderna Museet staged one of the most suggestive presentations of contemporary sculpture I can remember seeing: a show brilliantly choreographed as both an experience and an argument. Few exhibitions manage to bring the two together; where “Sculpture After Sculpture” outpaced the ordinary offering was in its success in materializing its thesis as an installation, an orchestration of objects in space. Picture a presentation of just thirteen objects: no filler, no extras—just an encounter, straight up. Such a display follows from Minimalism,