What you could not understand until seeing Price's work, assembled and justly arranged as it was here, is the sum and scale of the items he created. When he began his career in the '50s, Price worked intimately, with a focus on jug-like vessels and petite cups. The life that would eventually spring from those — the grandly bending, sensual tubes, eggs and geometric links that bridge them all — grew larger in scale but remained focused on connectivity and human interaction. From a distance, the collection resembled primordial creatures on a psychedelic planet. Up close, they looked like life incubated from a beautifully vibrant petri dish. Were it not for the Nasher's commitment to funding and curating shows of this magnitude, Dallas would never have had the privilege to experience this stunning retrospective. Perhaps more important, the exhibition was so cunningly arranged that it left us feeling elated, joyful and appreciative of Price's lifelong drive toward innovation.