Dan Graham’s “pavilions” in this retrospective are event spaces consciously directed toward public participation. While Pavilion/Sculpture for Argonne (interior version), 1978–81, for example, might initially be interpreted as a minimalist work, on closer inspection it turns out not to be a closed, self-asserting piece, but an instrument of projection and introspection. The cubelike frame, divided into two triangular chambers and structured with a refined arrangement of glass and mirrors, very soon involves viewers in the work’s constantly fluctuating appearance, in fact integrates them into