An abundance of ironies circulates around the sculpture of the Los Angeles–based artist Charles Ray (born 1953), none of which redound to the work’s benefit. Take the use of floor tape in “Charles Ray: Figure Ground,” a mid-career overview of an “elliptical, often irreverent” talent. We’re familiar with the means by which visitors to museums and galleries are reminded to keep a distance from a work of art, thereby avoiding potential damage to the object on display. At the Met, each of Ray’s sculptures is surrounded by floor tape that is gritty in texture and has been laid out to create a non-violable space measuring about three feet across. “Don’t touch the art”; we get it. Still, my curiosity was piqued. After exiting the show, I strolled past some large Rodin bronzes in the nineteenth-century galleries. They weren’t surrounded by tape. Later, I...

 

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