Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20side of the house for the first time, he indicated that detail with sprays of bright yellow in the concluding section of the finished work. In Synthetic Contrivance, under the skylight in the gallery, Soriano takes as his subject the shadows cast by his wife’s clothes strewn on a bench—but in this case the light is artificial and static, captured in a single moment late one night. In its examination of shadows from multiple viewpoints, Synthetic Contrivance is cubist in spirit. Beat-Up Subject, installed on the gallery’s west wall, revisits the shadows cast by the house in Maine, this time over a period of just three days in July. It is a reductive, diagrammatic work in which a viewer can decipher the contours of the shifting shadows, and perhaps puzzle out their connections to the schematic representation of the house. (The title is borrowed from Stuart Davis, who used the phrase to describe a well-used compositional motif.) After completing each of these works in his studio, Soriano measured and photographed the compositions, and wrote precise guidelines for re-installation. He executed the original wall drawings by himself but intends that future iterations are equally authentic regardless of his participation, in the way that a composer writes a score to be performed by others, or that anyone can create a Sol Lewitt wall drawing simply by following his written instructions. Indeed, this exhibition was created by a small team of experienced and novice installers working alongside the artist over seven long days. These seemingly rational processes of Soriano’s wall drawings—the many measurements, the careful notes— In Polynesia, 1995, resin, Private Collection