Like many of his radical 1960’s contemporaries, Douglas Huebler’s conceptual art practice celebrated the dematerialization of form in favor of ideas and concepts. In the end, though, the art-viewing public craved something to see, touch or hear. Huebler, like many of his peers, grudgingly obliged. Some of the corporeal results of Huebler’s theories are now on view at Paula Cooper Gallery. They are oddly captivating. An untitled formica and plywood structure with brushed aluminum from 1966 recalls a Pez dispenser where a good part of the top has been bitten off by an impatient candy-addict. Another untitled piece from 1967, is a small geometric powder-blue wall sculpture that deftly plays with three-dimensionality and movement. Other forms slyly train the mind onto what is absent or implied. Here is Truro Series # 1 from 1966, a formica on plywood structure that on first blush imagines Superman in the artist’s small hometown of Truro, Massachusetts but is really a brilliant conceptual piece on internal and external space. At Paula Cooper through November 18.