The playfulness of Piero Gilardi’s “Tappeti-Natura” (Nature-Carpets), 1965–, belies the conceptual work and technical skill that went into making them, as well as the complexity of the postwar moment in which the Italian artist’s project first emerged. In this first collective showing of the Nature-Carpets in the United States, a dreamlike setting draws viewers into a space in which they move from one disconnected environment to another, traversing sculpted and painted polyurethane streambeds, fields, and seascapes. Several large examples are laid horizontally on the floor, the illusion of their