Like humankind, sculpture aspires to defy and transcend its physical state. Until the 20th century the great majority of Western sculpture was of the human figure. Carving in stone or wood, or modelling in clay and casting in bronze, the sculptor's task was to infuse dead matter with life. From Michelangelo to Rodin the gesture of the body, augmented by the creative gesture of the sculptor's hand, could suggest consciousness, thought and emotion. As Alberti observed approvingly in the 15th century: "The intellect moved and warmed by exercise becomes very pronto and quick in its work, and the hand follows speedily when a sure intellectual method leads it." It is interesting that this quality became valued at a time when sculptors began to draw and it is often in their drawings-rapid. two-dimensional, immaterial that we feel ourselves closest to the artist's aims. This exhibition looks at the work of three 20th century sculptors who all came to work in the West from Eastern Europe and, arguably, were less rooted in the Italianate and Catholic tradition of life's energies being expressed in sculpture through muscle and sinew, whether described or describing. Brancusi's sculptures still speak of human beings and animals but the inner reflections, "the idea, the essence", of Prometheus or the darting movement of a fish are the result of light on a honed surface instead of any naturalistic simulation. Gabo's first stereometric constructions were of heads and torsos, without their body mass, but soon his sculptures were exploring space and time as such, in parallel with contemporary science and aided by new, man-made materials. Their transparencies were also adopted by Moholy-Nagy who moved freely among sculpture, painting, graphic work, photography and film, calling himself a manipulator of light. Photography, light's own medium, appears to play an important part. The exhibition begins with photographs which Rodin had taken of his sculptures, some, tellingly, by his patinator who would have understood the exact effects the seniptor sought. Brancusi photographed his own sonlptures sust, in doing so, showed light as his active collaborator. Moholy, secine photography as one of the most important factors in the dawn of a new life", used objects to make photograms and ilmed the light reflections and shadows cast by his kinetic construction, the Light-Space Modulator. We even find that. Gabo made photographs of moving light, suggestive of forms which had or would appear to his sculpture. Lhdit space, time and movement all that sculpture was not were.now its subject and its media.