visual recognition. The "normative object" appears familiar, but familiar to two different registers: the two-dimensional and the three-dimensional. Such simultaneous perception of the object as both 2D and 3D one's habits of seeing, and so induces a reflex reaction, which is to walk around the object and to attempt to resolve or reconcile it to what one knows. "Indeed the very distortions that resist and undermine our ability to see trigger a shift from the spectatorial gaze to the corporeal encounter.” Since the object's compound distortions guarantee that no such reconciliation is possible, one's own reaction of walking around the work and taking up various vantage points, the process of attempted reconciliation itself, becomes part of the content of the work. In staging this "corporeal encounter," then, Lazzarini's sculpture bears comparison to the early work of Robert Morris and Carl Andre, both artists associated with Minimalism, and to the mature work of Richard Serra. Materiality All of Lazzarini's sculpture are fabricated out of materials that are proper to the "normative objects" upon which they are based. What this means is that there has been no "material translation" of any kind: no working with traditional sculptural or "art" materials as a means to represent some other more complex matter, such as a human body represented in marble, or an equestrian statue cast in bronze. The implication of this process is that it becomes difficult to describe a sculpture such as Lazzarini's brass knuckles as a "representation" of "real" brass knuckles. The distortion of the object alone cannot render it a representation; after all, objects that are damaged or distorted via other means, such as in a fire or explosion, do not cease being the objects that they are. Lazzarini's sculptures, in their adherence to what one might call a strict policy of material replication, open an inquiry into the nature or logic of artistic representation itself. Repetition and variation Repetition and variation are formal strategies that are central to Lazzarini's sculpture. Beginning as early as Francisco Goya's Maja paintings and reaching an apogee with Claude Monet's Rouen Cathedral series, the repetition and variation of some selected subject matter has served the history of art in many different capacities since the beginning of the nineteenth century. It was not until the 1960s and Pop art, however, that this strategy was intentionally deployed to echo the products of media and consumer culture. Andy