Sculpture can tell us a lot about the surface of things. Classical sculpture tells us how a muscle flexes, how a robe folds over a knee, how breasts sit on a body. Modern sculpture can do more: Richard Serra’s massive, tectonic pieces disturb and re-form one’s sense of space and weight (and mortality, if one is up for it). Koons’s stainless steel balloon animals evoke the hidden perversities of the banal. Despite the changes in subject over the centuries, in sculpture we deal mostly with outsides. The earth-shifting quality of Serra comes from the material’s stubborn texture, its impenetrability. The subtle menace of Koons’s work is born of its steely sheen, which works like a grin plastered
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