Further along, one encounters two powerful pieces by Italian artist
that evoke the visual effect of parallax, wherein two or more objects at a fixed distance appear to move forward and back as the viewer’s position changes. In Biasi’s 1967 Gocce
, a PVC structure of rectangular strips is layered on top of a series of overlapping concentric circles, which in turn are layered over a larger concentric circle, giving the effect of shimmering movement as the viewer moves side to side. In Soto’s remarkable Cubo y Extensión
(1972), distempered wires spring haphazardly from a neatly carved wooden panel. In both pieces—indeed in most of the show’s works—interaction is demanded from the viewer.
Another section of the show, “Mandalas and dervishes,” demands less from the viewer but is no less transfixing; the pieces included whirr and spin, recalling the ascetic ecstasy of spinning Sufi mystics. In “Kinetic cascades,” works like Norberto Gómez’s 1964 sculpture Untitled (1967), in which hollow rectangular blocks twist downward in a helix-like motion, mimic motion from a single perspective.
One of the show’s highlights is a video presentation by Argentine-Italian artist Ana Sacerdote, in which she breathes new life into a series of her own abstract geometric paintings from the late ’50s and early ’60s by having them melt together and drift apart over the course of an animated video sequence entitled Pattern, Color and Volume (1958-1962).