One of the audacious pioneers of the postwar era, Brazilian artist Lygia Clark reinvented not only what a sculpture could look like, but how a spectator could behave in its presence. This work, part of her Animal Series, was fabricated to be handled and manipulated. The sculpture is all about potentiality: Clark offers it as an open-ended proposition to be considered and explored. And although the Museum cannot allow its visitors to touch the sculpture, the sense of free experimentation inherent in its segmented form remains vividly alive.

Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture