I begin with the germ of an idea—a color, an object, a gesture. From that small beginning, a piece develops. I often make process drawings of a sculpture, but I never know what or who it’s going to be.

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Belgian artist Johan Muyle found his voice 40 years ago with La Modification (1984), an aptly named assemblage sculpture that borrows its title from Michel Butor’s celebrated 1957 novel. Consisting of a recliner attached to ropes and nooses, with a crate suspended between bicycle wheels placed behind, the entire ensemble evokes an instrument of torture or execution.

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Transformation—both material and metaphysical—lies at the heart of Bharti Kher’s career-long project to deconstruct the details of everyday life and rearrange them into more honest, if brutal truths. Like the literary masters of metamorphosis Ovid and Kafka, she moves between certainty and uncertainty in order to construct parables of contemporary life and of the body.

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Giovanni Anselmo’s works are predicated on action. As a result, they always seem to exist in the present moment—dynamic presentations of materials that resist aesthetic resolution, with each encounter constituting a perceptual experience that empowers individual outcomes and discoveries.

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More than two years in the making, “Road to Hybridabad” marks the culmination of an interwoven narrative that Detroit-based artist Osman Khan has been building for his entire life. Drawing on literary classics like One Thousand and One Nights and Waiting for Godot, the exhibition (currently on view at MASS MoCA) employs ordinary, familiar objects—telephone

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