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Boston, 1969. Lives and works in New York. Sarah Sze thinks of sculpture äs a kind of game of dematerialization that becomes the hidden machine by which her work is constructed. Lovingly meticulous and discrete assemblages of an atomized, ungendered domesticity — preferably heavily fragmented and disfunction alized beds, chairs, drawers, lamps, ladders, venetian blinds, sticks and strings — dramatize the conflict between the poverty of Information contained in the single viewing of a convention-al sculpture and the transparency of construc-tion and process that is basic to Sze's own het-erogeneous claim to production.

(Nadja Rottner, Flash Art # 216) Represented by: Marian Boesky, New York.