Sibony’s impoverished objects have frequently drawn comparison to Arte Povera, the 1960s’ Italian movement that is typically understood as embracing a kind of anti-interventionist return-to-nature agenda. But there is a profounder relationship between the two bodies of work, rooted in a shared respect for the integrity of the object that yet refuses an essentialist attitude. In Sibony’s installations, as in the assemblages of the Italian artists, elements are placed on view largely unaltered. However, in being so placed, they are subsequently challenged via their interaction with countering materials or gestures, including those proposed by the architectural space itself…