Sperling’s dynamic clusters of brightly colored forms blur the lines between painting and sculpture, image and object. Though each shaped canvas is distinct, it relies on other forms in the field for compositional coherence and energy. Often asymmetrical and happily off-kilter, a cluster is always satisfying in its surprising arrangement.

Johan Creten’s new monumental bronzes dialogue with some of his early pieces like The Gate (2001) or C’est dans ma Nature (2001). Alongside Madame Butterfly (1991), an especially political piece produced in the United States, several eloquent photographs are presented of these projects, conceived to bandage the wounds and explore the cité, in the ancient and modern sense of the word.