The guts of computers and other digital doodads provide the material in both the physical and metaphorical sense for Lewitt's latest works. The show takes up both Abreu spaces, and while its overall conceit is a bit hard to follow, the pieces are compelling. Most notably, Lewitt employs the thin, flexible, plastic-backed copper used in electronic devices. The stuff is tacked to the walls and spread on the floor, with circuit-board patterns and strips cut and peeled from the sheets, leaving incised areas of negative space. The removed metal, in turn, is hung as twisting reliefs. In another series of wall sculptures, hard-drive magnets and retailer reward cards are skewered shish-kebab-style, resembling robotic spines.
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