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Helen Frankenthaler Untitled, 1969 acrylic on canvas

Martha Tuttle

'stone and air' + 'bicho' by lygia clark, 1966 in beyond preconceptions: the sixties experiment - milena kalinovska (2000)

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Lygia Clark, Bicho 1960 – 84 Steel Installation dimensions variable Alison Jacques, London

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Lygia Clark (Brazilian, 1920-1988), Composição nº 4 from serie Quebra da Moldura, 1954. Oil on canvas, 104 x 82 cm

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Lygia Clark Plano em Superficie Modulada 1956 industrial paint on celotex Museo de Arte Contemporana da Universidade, Sao Paulo

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Lygia Clark, Pocket n. 1, Mini escultura n. 1, (metal cutout, hinges, aluminum), 1963

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Lygia Clark — The abandonment of art talk — MoMA Glenn Lowry: Clark called these works "Bichos," or "critters."

Connie Butler: The implication being that these are small beasts or animals or in some way animated and living forms. If you look closely, you'll notice that the Bichos are actually made from hinged metal pieces – some geometric, some circular, and some actually sculpted as if by hand. The Bichos are hinged in order to get movement within the sculptures.

Luis Perez-Oramas: The Bichos are fundamentally unstable structures. They question the physical certainty of the user, as they are at all moments at the brink of collapsing. They don't have an ideal shape. They don't have front and back. They are fully manipulable. And they unfold as potential multiplicities, structurally as well as organically.

Glenn Lowry: Composed of different planes, these sculptures are like moving versions of Clark's paintings. At several points in the exhibition, you'll find replicas that you can touch.

Connie Butler: Clark intended for a viewer to manipulate the sculpture in the space in and among paintings and other works. And it's here that we see this idea of a kind of collaboration with the audience introduced very directly into her work for the first time.