“It’s God as self-portrait,” the artist Yona Verwer told me as she explained Genesis, from Something to Nothing, an evocative but admittedly cryptic piece that she describes as “a ruptured metallic ...

The works of O’Keeffe and Moore, on the other hand, give us a much healthier helping of reality. Think about “Pelvis IV.” When we take it in, we are first struck by the fact that it looks like an eye.