The bronze sculptures that moved into Manhattan's Knoedler Gallery last week bore many of the familiar hallmarks of their famed creatorknobbly heads, voluptuously ballooning figures, forms locked within other forms like embryos inside wombs or heads inside helmets. But these similarities aside, Henry Moore's latest sculptures show him much changed since his last Manhattan show in 1954. His surfaces are rougher, his figures more ungainly, and almost every trace of his former elegance appears to have vanished. This may or may not be progress, but it is still a logical progression. Moore is such a consistent artist that every step he...
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