However much Minimalism may be out of fashion, the products of that movement still retain the capacity to delight the eye. The 13 works in Fred Eversley’s recent exhibition, “Black, White, Gray,” date from the mid-1970s; they eschew chromatic qualities, yet they contain tricks and delights that on analysis produce a kind of optical circus. All but one are made of cast polyester resin, hand-polished to the perfection of an astronomical lens. Most are circular. Solid black, muted gray, or creamy white, their colors illustrate Eversley’s investigations into monochrome. To our puzzlement, although they sink into parabolic shapes, few of them act as a lens. Eversley has urged that these works be moved, handled, seen in different lights and from different angles. Their slick tactility cries out for such interaction. But here, as in any museum, staff members asked us to keep our distance. Even so, the discerning viewer could find a lot to look at. …see the entire review in the print version of Jul/Aug’s Sculpture magazine.