“The underlying sense of form in my work has been the system of the Universe,” said the artist Alexander Calder, “or part thereof.” Before his death in 1976, Calder evoked space and physics in his mobile sculptures, where suspension and kinetics tell of invisible forces. And whether the work was miniature or monumental, Calder’s understanding of form held fast. Calder’s take on spatiality is the focus of this exhibition, which includes Têtes et Queue (1965), a sculpture that was first installed on the museum terrace decades ago, an organic response to the severe geometry of Mies van der Rohe’s museum design. —E.C.
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