Shulamith Koenig is perhaps best known for her activism as the founding president of PDHRE, the People's Movement for Human Rights Learning (formerly known as the People's Decade for Human Rights Education), which she founded in 1989. Yet at some point between her two-decade career as an industrial engineer (with a focus on water conservation) and her ongoing human rights activism, Koenig found time to create a fascinating (and largely overlooked, if Google is any indication) body of work as a sculptor.

Aesthetically, the work falls somewhere between David Smith and Louise Nevelson—the reference points are perhaps inescapable, insofar as Koenig assembles largely abstract forms out of found objects—but there is another, less obvious meaning to her sculptural forms.

In 1982, in an old farm in upstate New York, Shulamith Koenig found a trove of foundry wooden patterns and molds, hand carved by artists over a century ago. These were immigrants applying their artistic passion to make a living, contributing to the foundation of industry in the United States. Keeping these patterns intact, Shulamith places them in her sculpture, highlighting the dignity of these unknown artists, giving them life in works of art. The products made with these molds are long gone but in their unaltered form in Shulamith's sculpture, their beauty will never be obsolete.

Similarly, the photo documentation of Koenig touring an exhibition of her work with Noguchi (presumably in the early 80's) captures an uncanny sense of a bygone era.

ET Modern Gallery 547 W 20th St New York, NY 1011 (212) 206-0300 June 2 - July 13 Opening Reception: Thursday, June 2, 6 - 8PM