and daniel lind-ramos, whose assemblage of tools, branches, natural and salvaged materials, hecomes a kind of shrine to the suffering from017 hurricane in his native puerto co. shd, there's also the strange, translucent torsed hanging forms, hand-made by ragen moss, who wants us to walk around and peer inside them >> sculpture's, to me, categorical imperatives , it can teach us about space like nothing else. >> brown: moss is also a lawr, no doubt unusual for a biennial artist, but she likes the way her two disciplines make her think differently. >> when you're a lawyer, you're given a set of facts. they are not in your control. and a good lawyer's job is to analyze, issue, spot, address themnd solve them. art could almost be an opposite funnel, where there are no facts. i make the facts, and then i t solve problemshat don't exist. i set my own questions. >> brown: the whitney biennial is known for addressing current political issues, but this year, the museum itself has become the focal point, in a controversyfa similar to tng other cultural institutions. the metropolitan museum of a