Thomas Schütte, "New Work"

Schütte's heterogeneous sculptural output has always been hard to define, spanning a wide range of materials—from ceramics to steel—and an equally broad spectrum of subjects—from figurative forms to architectural models. Much of his work could be described as antimonuments on a monumental scale, casting a cold eye on the manifestations of power in politics, religion and sex. This two-part exhibition, here and at Freeman's new space at 140 Grand Street, is the German artist's first in New York in seven years.