The latest show by Gedi Sibony continues the artist’s practice of making enchanting assemblage sculptures out of the most minimal means, and of making paintings that rely on such restrained gestures that they’re barely there. The press release for “The Invisible Point,” his eighth show at New York’s Greene Naftali since 2008, consists of just four sentences, explaining that his process is “powered by an intuitive momentum,” that the show includes “objects drafted from remnants and castoffs,” and that landscapes depict “interacting beings.”  Related Articles And then it goes cosmic: “The extended space of objects and the imagined realm interact by offering confirmation across the divide,” it concludes, “gesturing toward the mystery that humbles us.” The strength of Sibony’s work is the way that he can make magic out of nothing materials—including, in this case, wooden bookshelves found at trash dumps or on the street, broken plant stands, scraps of wire, and a broomstick—thereby extending a tradition stretching from Cubist collage to assemblages by artists like Louise Nevelson, Robert Rauschenberg, and Richard Tuttle.  I first …