Although Ree Morton started her career late and was active as an artist for less than a decade, her influence continues some 40 years after her death. Today, many artists present their work in constructed environments, but in the ’70s, Morton was among the first to disturb the white cube of the gallery, setting up installations that used walls, corners, and floors. At the same time, she moved away from making singular sculptural objects, using non-traditional and craft-based materials to explore the creative potential of process and the provisional. While celebrating the decorative impulse, these slyly understated, disarmingly charming works also revealed a potential for subversive critique. The seven sculptures, several drawings, and lithographic print on view in this exhibition provided an intimate look into Morton’s work and creative process, as did a collection of documentary ephemera…see the entire review in the print version of June’s Sculpture magazine.