Tate Britain removed interior walls for its recent Rachel Whiteread retrospective, creating an open 1,500- square-meter space—an unusual modification that allowed all of the sculptures to be viewed with a single sweep of the eyes. A mesmerizing quietude pervaded the space— individual pieces, sedate and pale, appeared to evaporate into their environment. The show spanned White – read’s output from the 1980s through the present, using a regimented manner of display to create an allencompassing effect. One had the sense of entering a vast mausoleum, with each sculpture a kind of echo of the world in which we live. Whiteread’s method is based on one overarching idea—casting the …see the entire review in the print version of April’s Sculpture magazine.