Good Figure focuses on plaster works from the crucial years, from 2019 to 1983, of Bruce Gagnier's practice. Traditionally, plaster has been considered an intermediary material for being used in the casting process as an artist proof. It creates an optimal surface for light and shadow, in fact, bringing a sculpture to life. Just as Giacometti valued plaster for its humble, fragile quality, Gagnier thinks highly of the material. Plaster is malleable as clay, but it dries to the end material that ages beautifully. The moral side of Gagnier's sculpture lies in its process; the figure changes without a predetermined image and so does the artist himself. Through this process, the truth of the human situation is unfurled; we are in a constant tension between the inner life and outer circumstances. Plaster is a good material to deliver a sense of being in this state, being a human, the representation of it, and its ever-changing, evanescent aspects of human life.