What does it mean to take a stand for sculpture now? Such is the question Lily Cox-Richard asks in the appropriately titled series The Stand (Possessing Powers). Here she selects, edits, and then re-creates elements of the works of Hiram Powers (1805–1873), the presumptive “father of American sculpture” who helped establish and define the young country's genre of Neoclassical sculpture for domestic and international audiences. In many respects, the reference is anachronistic to the point of disbelief, even for an artist of a generation to whom creation often means the promiscuous cutting and pasting of images without regard to their original contexts. The intensive, almost excessive amount of labor undertaken in the making of these sculptures is yet another indication that this is not... appropriation as usual. In looking to Powers, Cox-Richard asks about the strange divide between geography and temporality. His works are widely exemplified as “American” sculpture, yet they are distinctly and even aggressively bracketed from any reflection on what it might mean to be American and modern. Yet Cox-Richard also makes clear that strip-mining the past is not her aim; in her case, it is more productive to consider how something so closely associated with a particular time can be recuperated as an active and dynamic referent, capable of proving its relevance to the present by illuminating the concerns that animate it.