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Byline: Anne Stringfield
Dividing her time between a cement-floored Brooklyn studio and the cozier house next door that she shares with her husband and two children, the sculptor Teresita Fernandez has never been one to court publicity. But lately the limelight keeps finding her. First came high-profile installations at the Miami Art Museum and New York's Museum of Modern Art; in 2005, she received a MacArthur "genius" grant; and when Seattle's Olympic Sculpture Park opened in January, her glass-walled overpass was hailed as a new urban landmark. As Fernandez observed when the MacArthurs were announced, "It's nice when somebody notices." Such modesty does not begin to hint at the spectacular visual effects of the work the 38-year-old artist has been producing since her graduation from art school in 1992. Curator Lisa Corrin, who calls Fernandez "one of the best-kept secrets in the contemporary-art world," invited her to participate in the Olympic Sculpture Park because she "wanted an artist who would change the quality of moving from one part of the park to another." She got her wish. Psychedelically hued cloud patterns cast bright shadows over passersby, while blocks of glass provide viewers with glittering, cinematic ...