Late March marked the debut of London’s Lisson Gallery’s very own version of a double-header: tranquil, stunning, and minimalist shows from Lee Ufan and Anish Kapoor. Kapoor’s return to Lisson, more than 30 years after his first exhibition there, revealed a different type of artist: His collection, which was 18 months in the making, featured giant silicon and resin pieces resembling torn, mangled flesh, dismembered fat and legions of brawn that looks as though it’s seeping out from its placement on the wall.

In perfect contrast to Kapoor’s trauma, Ufan created a “quasi-sacred” space to house his latest collection. His effort, he described, was all to “lead people’s eyes to emptiness and turn their eyes to silence.”

Where Kapoor leaned on uncouth depictions, Ufan only installed four paintings, each composed of just one color. In silent juxtaposition, rocks sit steps away from his large-scale paintings. They are quiet, thoughtful, introverted. He added, “My work is interior and exterior, interrelating objects and finding the coherences and harmonies.”

Against Kapoor’s, the two exhibitions represent a loud disagreement; on their own, however, each a depiction of emotion and experience.