• View of “Sculpture After Sculpture,” 2014–15. From left: Katharina Fritsch, Elefant, 1987; Charles Ray, Tractor, 2005; Jeff Koons, Metallic Venus, 2010–12.

    “Sculpture After Sculpture”

    Moderna Museet | Stockholm

    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,

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