“Drew expands upon the implicit connections between sculpture and installation while invoking painting, industrial design, and vernacular aesthetics,” writes Matthew Bourbon in a recent issue of Artforum. Growing up in the projects of Bridgeport, Connecticut, near the city dump, Leonardo Drew spent a lot of time watching mountains of trash burn. He never forgot the vision—in fact, his work is infused with it. Drew often transforms and combines various materials in his large-scale installations, a reflection on the cycle of life and death. In his new site-specific piece for the Amon Carter Museum, Drew positions small and midsize objects—he calls them “planets”—on four walls. Together the planets create a cosmos of high-velocity mayhem and even deeper order. —Jeanne Malle