“SHY AT WORK” is an unlikely title for a Bruno Gironcoli retrospective. The Austrian artist is best known for his large-scale sculptures of the 1980s and ’90s—iron, aluminum, wood, and plastic giants that seem anything but reticent, not only because of their size but also because of their adamantine surfaces, which are typically achieved via a slathering of bronze, gold, or silver powder paint on the models, which are then cast in metal. Their bodies consist of animistic figurations, assemblages of dehumanized forms that leave no space for the beholder to identify with them. Gironcoli’s