Also on view are two vitrines filled with small folders, each holding a preliminary sketch or small-scale exercise. Among these are several series made from the pages of art auction catalogues. In one, Breuer has abraded pages reproducing Alexander Calder mobiles, removing ink to leave only the sculptures’ supports. In another, a silhouette of Breuer’s own headless body seems to leap in front of artworks, dividing a page depicting an Egon Schiele nude into four quadrants, a shape that is echoed in the larger wall-hung works.
Breuer’s own body makes an appearance in a series of Polaroids on view in the gallery and collected in a newsprint booklet that viewers can take home. In them, a black cloth whips through the air against a white background, creating fluid, graphic shapes that are frozen by the camera. In a few, we see Breuer’s hand and wrist—one of the many traces of his body in this ongoing exploration of material and form.