Kris Martin TYFFSH, 2011

At SMLXL, you are the measure.

On view through October 4^th, the exhibition features four sculptural works that engage with issues of size and scale. Rejecting the pedestal, each piece invites its viewers to walk through or into it, inspiring a range of reactions from awe and amusement to claustrophobia.

Two works by Robert Morris showcase how we use our bodies to perceive space. In Portal (1964), the viewer walks through a simple post-and-lintel doorway. Gallery text on the floor asks us not to touch it. Just wide enough for most people to fit through, the structure is nevertheless small, potentially requiring some careful maneuvering to obey the rule. In Passageway (1961), meanwhile, it is nearly impossible not to touch the piece, since it consists of a gradually narrowing, curving hallway. Entering the work one by one, visitors find that the passage eventually becomes impassable as the dark walls close in to a dead end.

Part furniture, part sculpture, Franz West’s Blue (2006) surrounds us with that color as it takes the form of a papier-mâché spiral with a chair at its center. Sitting inside and gazing up into the light bulb hung above, the experience begins to feel like something from a dream. Entering the hot air balloon in Kris Martin’s T.Y.F.F.S.H. (2011) might feel similarly fantastical. A familiar object usually glimpsed high up in the sky, the balloon beckons visitors to explore its vast interior– as long as they don some fabric booties first.