Best known for her alternately macabre and humorous sculptures—body parts cast in polyester resin, anthropomorphic wads of used chewing gum, plastic lamps featuring disembodied red lips or pink breasts, and Carrara marble belly rolls—Alina Szapocznikow also made hundreds of drawings over the course of her short career. Following a renewed interest in Szapocznikow’s work, as evidenced by several high-profile retrospectives in recent years (at WIELS in 2011/12, travelling to the Wexner Center, the Hammer Museum, and MoMA; the Pompidou Center in 2013; and the Tel Aviv Museum of Art in 2014), the current exhibition at Galerie Loevenbruck focuses on a series of drawings made just before her untimely death in 1973, aged 47. Presented alongside a single sculpture from the same twilight period (Head of Piotr, 1972, a haunting cast-polyester bust of the artist’s son), the nine “Human landscapes” on view are eloquent and sensual illustrations of collapse, decay, and rebirth. Szapocznikow’s use of color in this series—a rarity in her drawings—adds a surrealist dreaminess to her signature “disarticulation of form.” A sparingly applied, limited palette of pinks, greens, yellows, and browns underscores the simultaneous frailty and vigor of Szapocznikow’s fragmented subjects. Watery pink figures are at once translucent and ghostly …