At first glance, Anya Gallaccio’s sculptures recall Minimalism. Spread across two rooms, a cube and its variations purposefully quote the skeletal frame and open modular structures used by Sol LeWitt in the 1970s. But rather than appropriation or homage, Gallaccio has subterfuge in mind. Like LeWitt’s works, Gallaccio’s delineate volume, space, and mass, and they are similarly to human scale. Yet instead of sculptures industrially fabricated in aluminum or steel, Gallaccio, with the same exactitude, fashions her cubic forms from rectangular planks of limestone, sandstone, and granite. Undermining the reductive Minimalist paradigm, this subtle yet insistent intervention naturalizes the ideal, returning variation, systems, and perception to their formative origins in the natural and organic. …see the entire review in the print version of November’s Sculpture magazine.