Over the course of his celebrated career, Charles Long has oscillated between the critical-conceptual and the playful in abstract, biomorphic sculptures, which refract his observations of the world and reflect his enduring interest in the relationship between the self and others. Ranging from quirky and inviting to puzzling and abject, his forms are composed of an assortment of materials, including clay, coffee grounds, rubber, paper pulp, plastic, and light. He has also incorporated sound into his works, collaborating with such famous artists as Merce Cunningham, Stereolab, and Mark Mothersbaugh of Devo. Among Long’s best-known works is The Amorphous Body Study Center (1995), included in the 1997 Whitney Biennial. Composed of a grouping of interactive sculptures emanating original music by Stereolab, this work urged viewer engagement, inviting them to become immersed in sound while touching, and even altering, what would ordinarily be untouchable.