At eighty, Jim Dine still has a few tricks up his sleeve. Five recent sculptures featuring the artist’s toolbox staples—hammers, wrenches, pliers, hooks, saws, C-clamps, and so on—include a material he has rarely worked with before: glass. Souvenirs of his family’s hardware store as well as extensions of his own hands, Dine’s tools have been an autobiographical motif since the 1960s, showing up in drawings, paintings, sculptures, prints, and photographs. Literally and figuratively breathing new life into his personal iconography, Dine’s foray into glassblowing (a collaboration with

At the core of Maxime Bondu’s work there often lies a fact whose sole claim to existence is that it has been produced in a past to which we were not witness—a fact that, in the process of being recorded and transmitted, becomes an enigma. How can one make something as impalpable as the past tangible? How can one concretize the images that it generates? Bondu reproduces objects associated with series of given facts, taking meticulous care with his materials and fabrication process. These objects are silent witnesses to the facts in question. Bondu seems to be putting his faith in