Rather than gathering an awe-inspiring collection of the most expensive and striking Rodin sculptures, it feels as if the curators made a scrapbook of his life. I found myself smiling at the paintings as I learned about who Rodin was, how he worked, and what his friends thought of him.
The first visible piece is a cast-iron sculpture of a man suspended in the air, his silver body horizontal to the ground. He is clearly in motion, contorted like an eel, swimming unconventionally through some invisible body of water. Behind him are more statues, also made of cast iron and aluminum.
Each morning the habitation form of the structure is disassembled and over the course of the day, reassembled in order to become a bridge to the next day’s supplies before turning back into a shelter against the cold November nights. Their route is marked along the plaza by a series of poles atop small caches of supplies for the next day, and their progress is shown by a string of lights along the top of the poles.
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