Sarah Sze is known for her complicated, sprawling sculptures, accumulations of small quotidian things that add up to enigmatic and overwhelming impressions. The meaning of her works is often subsidiary to the simple, ungraspable, in-yourface complexity of each piece. In Timekeeper (2016), her multifarious accretion became smaller and more unified than in many of her previous works. Improbably, instead of building the work out to the edges of all three sculptural dimensions, she managed to add the fourth dimension. The work, which was accompanied by projections, occupied a large, darkened gallery. This is the first video work I have seen from Sze; in typical fashion, she approached it from a unique perspective. Instead of focusing on one screen, she mounted several projectors on a central rotating axis, using the walls as screens.…see the entire review in the print version of April’s Sculpture magazine.