Shirazeh Houshiary’s “No Boundary Condition” presented itself as an exhibition of paradoxes—paintings that felt three-dimensional, manmade objects that felt organic, chaotic sculptural compositions that somehow seemed simple. Works such as Lacuna (2011) created a feeling not unlike an erupting storm, multiple spiraling forms crashing into one another, tumulus forms reminiscent of conflicting turbulent airflows. Yet, despite this turbulence, the piece gave off an odd sense of calm. The curvature of the cast stainless steel followed an organic flow and, in combination with the dominant matte-green color, evoked the feeling of standing in a meadow with a gentle breeze. The two floor pieces Stretch (2011) and Tear (2011) created their own contradictory environment, but in a very different way.…see the entire review in the print version of April’s Sculpture magazine.