Here’s a work I saw at Senso Gallery in Bucharest last fall.

I’ve seen warm marble in Bernini’s Rape of Persephone (where Pluto’s hand sinks into her flesh), pregnant marble in Brancusi’s Beginning of the World (where an ovoid rests on a polished steel plate: the material world and its metaphysical alter in bud), marble draped in lavish folds in Michelangelo’s Pietà, diaphanous in Giovanni Strazza’s Veiled Virgin . . . but I’ve never seen marble quite so soft and elastic as that of Cristian Pentelescu’s in The Gate, or if I did, I don’t remember—