Lynda Benglis, Quahatika (detail), 2013, glazed ceramic, 23" × 13" × 10" (58.4 cm × 33 cm × 25.4 cm) © Lynda Benglis

Lynda Benglis, Elephant Necklace 51, 2016, glazed ceramic, 10" × 9" × 9" (25.4 cm × 22.9 cm × 22.9 cm) © Lynda Benglis

Arlene Shechet, Guessed It, 2020, glazed ceramic, steel, overall 18" × 14" × 10" (45.7 cm × 35.6 cm × 25.4 cm) © Arlene Shechet

Richard Tuttle, It looks different Yeah, it does look different, 2018, air-dried ceramic, metal, string, and nails, 8" × 8-1/2" × 5" (20.3 cm × 21.6 cm × 12.7 cm) © Richard Tuttle

Lee Ufan, Untitled, 2015, red stoneware, 8-3/8" × 21-5/8" × 21-5/8" (21.3 cm × 54.9 cm × 54.9 cm) © Lee Ufan

Song Dong, Usefulness of Uselessness No. 8, 2013-2015, old furniture, plywood, tile, water outlet, 61 cm × 68 cm × 40 cm (24" × 26-3/4" × 15-3/4") © Song Dong

Yin Xiuzhen, Ceremonial Instruments No. 9, 2015-2016, porcelain, used clothes, 23.5 cm × 24 cm × 9.5 cm (9-1/4" × 9-7/16" × 3-3/4") © Yin Xiuzhen

Sui Jianguo, Garden in the Cloud-Trace No. 2, 2014-2018, cast bronze, 19.5 cm × 57 cm × 41.5 cm (7-11/16" × 22-7/16" × 16-5/16")  © Sui Jianguo

在克莱斯·奥登伯格（Claes Oldenburg）和凡·布鲁根（Coosje van Bruggen）的作品中，日常物品被扩大到一个巨型的规模，而其它对象则依然保护小尺寸，以一种充满趣味的方式被凝固在一瞬间，例如《天堂馅饼》（Paradise Pies，2009）中融化的冰淇淋和洒落的樱桃。塔拉·多诺万（Tara Donovan）对人造材料的创造性运用，例如玩具弹簧、纸碟、大头针和稻草，与光和空间展开形式上的对话，同时创造了可以改变材料字体身份的富有想象力的形式。