Tony Cragg likes order. He likes to classify his sculptures, group them into families and think in terms of the relationships between those families. “I am very skeptical about throwing things at the wall and doing chance things, but art is full of this kind of sloppiness,” says Cragg in his studio overlooking the valley of Wuppertal. He stands next to his desk which is filled with drawings tracing human profiles. Amidst these rise elegantly, in a columnar fashion, what seem to be their physical projections.