Janos Enyedi’s sculpture recaptures and reinvigorates the heroic traditions of American modernism. His keen sensitivity to the nation’s twentieth-century industrial spirit serves as the intellectual platform for his aesthetic essays in two and three dimensions. Enyedi’s painting and drawing, and especially his sculpture, take seriously America’s industrial past, less by documenting its former grandeur than by enabling its vestiges to take possession of our imagination. The visionary industrial landscapes of once muscular manufacturing, of vigorous inland transportation, and of imposing infrastructure are as much built on paradox as they are constructed from paper or in steel.

Janos Enyedi’s group of welded and bolted steel sculpture from the “Bessemer Song” series are richly complex, the sculptures are assembled from a motley collection of fabricated and found parts —primarily rolled sheets, box columns and I-beams —into curving, atten-uated configurations. Overlapping, eccentrically cut arcs — gently enfolding partially visible interior spaces — are counterpointed by self-assertive columns and beams, whose straight edges slice out into new territory as ledges, lintels, flying buttresses, diagonal supports.