“The Tempramentalist is Nagle’s most straightforward tribute to the Italian painter. A gleaming golden shape sneaks between two monoliths of stucco gray. There, as in Morandi’s best work, the border is an entity unto itself. There’s friction where things meet, in that living edge not inherent to each object. Morandi’s bouquets of vessels cast ambiguous shadows. “He’s fooling the audience,” says Nagle, who, working in three dimensions, can afford more outlandish inventions while remaining beholden to gravity.”