The show puts forth a persuasive case for an artist who saw making art and living with others as—to borrow her phrase for her ouroboric creations—“one continuous form within a form.” We’re used to seeing abstract sculptures starkly displayed, as if they’ve come from a realm of pure geometry. Here, Asawa’s wire forms are surrounded by photographs and video of her at work and keepsakes from her home in San Francisco’s Noe Valley neighborhood, including the plaster “life masks” she cast of visitors and the hand-carved redwood doors. Drawings, prints, and watercolors of produce from her garden are on view near studies for her public projects, including the Corten-steel origami fountains in her city’s Japantown.