Since the 19th century, Chicago has been a transportation hub and has had to adjust itself to the network of railway lines running parallel to the shoreline of Lake Michigan. Daniel Buren’s Watch the Doors Please, “a work in situ and motion,” takes as its departure point the literal coincidence of the Art Institute of Chicago and the Illinois Central Gulf Railroad, a major commuter line. He uses the giant two-story window overlooking the tracks at the entrance to the Art Institute’s Morton Wing as the initial frame for his work (a situation that ironically makes literal the convention of painting