Antony Gormley conceived his first “serious artwork” (his words) after a trip to India in 1974. It was a sculpture made by enclosing his friend in plaster-soaked cloth so that the model’s body emerged under the fabric but was otherwise absent—a reference to the way that men and women across India disappear under their saris or dhotis when they fall asleep in public places, as Gormley observed. So began a career looking at the human body and its relationship with space. In 2005, Gormley tranferred his 1997 sculpture Another Place from Germany to England, where it’s become a permanent installation. It is made up of 100 cast-iron male figures standing progressively farther into the Irish Sea from the Merseyside coastline in Liverpool. The piece explores whether objects at that distance from each other can have a relationship, even a close relationship, and what it feels like to put objects so far from each other in conversation. Another Place seems particularly relevant now, in a time when our intimacy largely takes place at a distance. “SURVEY: Antony Gormley” is what it says on the tin: a retrospective of Gormley’s work over four decades and his first major museum survey in the U.S. As part of the show, Gormley is placing his figures on rooftops across the Dallas Arts District. —Jimmy Lux Fox