In 1979 Guillaume Bijl wrote a fictitious pamphlet in which the Belgian government dismissed art as “superfluous.” The perverse but logical conclusion was that all art spaces needed to be transformed into useful social institutions. Ironically, during the next decade the very opposite of what Bijl had predicted occurred: in Ostend a former warehouse was transformed into the Museum for Modern Art, and in Antwerp an old factory was transformed into the Museum for Contemporary Art—the very same “museum” in which Bijl’s recent installation was exhibited. More than anywhere else, in Belgium reality