Critic Andrew Russeth offers incisive analysis of Liz Larner’s “rare and admirable” restlessness. While known as an innovative sculptor, Russeth argues Larner’s passage through other fields warrants serious attention. Several 1980s works are discussed, including a microorganism decomposition study (image: Orchid, Buttermilk, Penny, 1987), and a kinetic device that rebuffed Survival Research Laboratories’ “outrageously macho robots.”