Throughout the museum, the serendipitous nature of Arlene Shechet’s sculptures responds to specific works, rooms, and feelings in order “to keep people moving and surprised.” Shechet’s highly original sculptures combine experimental expressiveness with whimsical subversion: “It has that quality of being almost banal and at the same time very abstract and mysterious.” Shechet makes sensual objects that playfully straddle abstraction and representation while expanding the medium of drawing and painting into sculpture, which is mirrored also in her installation at the Phillips. Shechet has said that she “prefer[s] to think of clay as a three-dimensional drawing material.”11 For one of the salons in the original Phillips house, the artist creates a highly engaging installation whose theme is astutely introduced by a graceful glazed ceramic and platinum sculpture, with the tongue-in-cheek title Go Figure (2016), precariously placed on a tall steel base. Shechet’s salon-style, interrelational arrangement pairs figure drawings by Richard Diebenkorn, Frank Lobdell, and Auguste Rodin with painted portraits by Walt Kuhn, John Graham, Piet Mondrian, Chaim Soutine, Milton Avery, and Paul Cézanne.