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In the fall of 1909, the young Pablo Picasso modeled a clay and plaster sculpture of a female head, a searching, experimental work that now, cast in bronze, is considered a modernist icon, a benchmark in the development of Cubism. Head of a Woman (Fernande) is both radically new and strangely traditional; it simultaneously questions and reaffirms the time-honored conception of sculpture as solid form. (At the time Head of a Woman was made, Picasso and his friend Juli Gonzalez's reinvention of the discipline as open construction was still two decades in the future.) Confronted by the sculpture, you are acutely conscious of its dense singularity and just as acutely aware of ...