While we can justly bemoan how smartphones, computers and other screens have contributed to flattening our lived experience of the world, flatness has long been associated with how we experience art. Though this is inevitable when engaging with paintings and photographs, almost all objects in museums and galleries are kept behind glass, cordoned off or placed in such a way so that we can only see them on a single plane and from limited vantage points. Bernini’s sculpture Apollo and Daphne was never intended as an exception to this convention as it was originally placed in the corner of a room, but it realizes its dramatic potential now that it can be seen in the round at Rome’s Galleria Borghese. Like the passage that inspired it from Ovid’s Metamorphoses, in which a young maiden turns into a tree while the gods pursue her, the 17th-century marble sculpture, though static, conveys a narrative rather than a This story is from Kinfolk Issue Thirty-Four Buy Now Related Stories Arts & Culture City Guide The Standard, High Line Setting a high standard in the Lower West Side. Arts & Culture Food Issue 46 At Work With: Deb Perelman The little blog that could: An interview with Smitten Kitchen’s unflappable founder. Arts & Culture Issue 46 Word: Wintering When to withdraw from the world. Arts & Culture Issue 46 Brock Colyar An interview with a professional partygoer. Arts & Culture Issue 46 Studio Visit: Yoko Kubrick In the studio with a sculptor of monuments and mythologies. Arts & Culture Issue 46 Community Inc. Can a brand be friends with its fans?