Carol Bove’s new steel sculptures become one with their industrial-gray environment. This is done on purpose: it presses the viewer to consider the phenomenology of form. Bove works in sandblasted stainless steel, but also manipulates each element of a sculpture’s setting, whether by adding a huge three-dimensional version of a “Rubin’s vase” in the gray room, or deploying bright colors in a second room. The two rooms are sort of inverses of each other, leaving the viewer to ask what the words “opposite” and “duality” really mean. Is nothing the inverse of something? —Clara Molot