Christopher Wool’s 2013 show at the Guggenheim Museum didn’t seem terribly convincing. It is likely that many viewers found the paintings uninspired and stylistically repetitive. But his sculptures, which mostly consist of curved, bronze tubular lines, look more interesting. Wool’s three-dimensional works reference New York School painting as much as they consider the current state of American sculpture. Still, his work has to justify itself on a contemporary basis rather than an archival one. His sculptures, with their wave-like lines of expression, demonstrate a regard for drawing; in an interesting way, they may take their expressiveness from the calligraphy of Brice Marden’s tangled, linear paintings and works on paper. Two-dimensional work seems a natural influence because at least some of Wool’s sculptures are highly frontal in appearance. …see the entire review in the print version of January/February’s Sculpture magazine.