It will seem perhaps equally surprising to Americans and to Scandinavians that since the late 70s the New York sculptor Bernard Kirschenbaum has found industries interested in using their resources to realize his projects most often in Sweden and to some extent in Finland, and that it is chiefly in these two countries that galleries and museums have been willing to subject their spaces to his quiet but drastic operations. The latest of these was at the Malmö Konsthall, whose big, open, yet perceptually secure boxlike rooms were shaken to their foundations as they became the scene of Kirschenbaum’s