In 1960 Clark began to produce movable metal sculptures that could be modified by the spectator from three–dimensional planes to flat reliefs. She titled this series Bichos (Critters), making reference to animals and organic structures, as in her sculpture Sundial. Poetic Shelter is a key piece, leading to the conclusion of the series by privileging space over flatness and presenting construction as a form of shelter. In this work, as in her drawings, Clark liberates plane and line from their inanimate condition and recovers their vitality through movement and transformation in space.
Gallery label from New Perspectives in Latin American Art, 1930–2006: Selections from a Decade of Acquisitions, November 21, 2007–February 25, 2008.