It’s safe to say that we all like sculptures that move (think babies and mobiles). These days, they come in the form of Tim Hawkinson’s body-centric, science-y contrivances and Jon Kessler’s Rube Goldbergian political statements. But there was a time when kinetic sculpture was made just for the sake of art and movement in themselves. That, of course, was the free-wheeling ‘60s, when Hartmut Bohm conjured up a grid of magnetized plastic squares that still leap and jolt with the silly abruptness of stop animation, and Jean Tinguely conceived a piece that appears to be a Constructivist painting before you realize that the white rectangles are slowly rotating on their black surface, creepily moving like a set of eyes in a haunted-house portrait. Gianni Colombo’s 1959 blocks of Styrofoam undulate almost imperceptibly, teasing you with their subtlety. The gallery fills with quiet clicking and clacking: It’s a room full of happy skeletons that came to exist before the impersonal slickness of digital technology.