In the 1960s, American sculptor Lynda Benglis developed a practice in reaction to the prevalent masculinity of Minimalist trends. Employing unconventional materials such as wax, polyurethane, latex, and resin, Benglis emphasized chance and process, allowing material to dictate an artwork’s final shape and form. WING, 1970, in Glenstone’s collection, exemplifies the artist’s “pour” technique, which she developed and refined in the late 1960s. WING hangs off the wall like a painting; however, the amorphous metal extends out from the wall into three-dimensional space. Benglis’s work often defies categorization, blurring the line between traditional painting and sculpture.

–Nora Severson Cafritz, from the Glenstone Field Guide