While it’s fair to wonder whether Noland, a former it girl of the late ’80s art world, even belongs in the same room as Calder, the premise behind the pairing of their sculptures—that inert objects can embody the physical dynamics of violence—is interesting enough. Of course, Noland’s work, which consists of some pipe-rack constructions plus an American flag riddled with holes, is completely outclassed by Calder’s piece: A spinning pylon-mounted blade furiously gouging a hole in the ceiling.
