The floor was covered with gray carpet, the ceiling with penetrating, domineering tiles that created a gridlike pattern. I cannot think of another exhibition space in which I have seen less successful uses of the available space. Joseph Kosuth’s installation, A grammatical remark, 1993, is, by contrast, noteworthy. Though presented in his signature manner—a black room with white script—the connection it forged with the architecture of the space was more than just another declination of his concept of art. The viewer entered a boxing ring. The carpet floor became a floor of action. Surrounded by