In the mid-twentieth century, artists began challenging sculpture’s inherent qualities as a stable and static art form. Kinetic sculpture—activated in space by mechanical means or the natural movement of air—also opened up the temporal possibilities of three-dimensional work. The works in this installation—Alexander Calder’s and George Rickey’s carefully calibrated constructions, Harry Bertoia’s gently swaying Wheat, and John McCracken’s leaning Gray Plank—tilt and teeter, activating the Great Hall with their movements. While the word “precarious” can imply the risk of danger or collapse, these sculptures playfully highlight the other side of the term: resilience and return to balance.