Sarah Oppenheimer, W-120301, 2012, aluminum, glass, existing architecture. Installation views, Baltimore Museum of Art. Photo: James Ewing.

BREAKING THROUGH A WALL might have once seemed like a radical gesture, but by now it has become something of a cliché. From the pockmarked cavities of Lawrence Weiner’s 1968 A WALL CRATERED BY A SINGLE SHOTGUN BLAST, to the open gap in the facade of the Pomona College art gallery left by Michael Asher’s now-legendary 1970 removal of its doors, to the ragged cuts through abandoned buildings that defined Gordon Matta-Clark’s entire oeuvre, the hole in the wall was a mainstay of pioneering post-Minimal and Conceptual practice. And the basic gesture of piercing an architectural surface continues to appear in many guises today—one could cite Urs Fischer’s bravura attacks on walls and floors or Monika Sosnowska’s jagged gash in the Museum of Modern Art’s ceiling (The Hole, 2006), to name just two examples. The recurrence of such breaches and ruptures over a span of almost fifty

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