“Every sculpture is only a point in time,” the American artist Mel Kendrick has said. “Every object could go further.” Kendrick, born in 1949, has dedicated his life to sculpture, which he uses to explore a fundamental dichotomy: the difference between our experience of an object and the properties of the object itself. His work is cast in bronze, rubber, resin, even paper, and shows visible marks, cuts, paint, and oil stains—clues to how they were made. Like Picasso and Braque before him, Kendrick is constantly testing the limits of geometry and perception. With work from the last 50 years, the Parrish celebrates this adventurous artist. —Elena Clavarino