Mexican artist Pedro Reyes’s recent exhibition featured two distinct groups of medium-size sculptures, one figurative and the other geometric. While this juxtaposition might at first have appeared incongruous, it follows the practice of an artist who was trained as an architect and never cultivated one signature style or preferred medium. His passion is exploring the transformative power of activism, collaboration, and collective and individual participation in art.
Visitors first encountered five black stone monoliths (four made of marble and one of volcanic rock) set on pale plywood plinths. Similar looking, yet not the same, each of the four marble blocks was cut into parallel sections in various ways. Litophone (Ótico) (Lithophone [Otic]; all works 2017), for example, had eight ladderlike sections cut into it from top to bottom and was distinctly taller than it was wide.
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