The reflexive structure of Manuel Saiz’s installation Interfaz (Interface, 1997) perhaps recalled Dan Graham’s pavilions, but while Graham’s installations pressure the viewer into recognizing that reality invades the representational arena, with Interfaz the viewer never entered a space that was recognizable as “real.” Instead, the viewer penetrated a virtual reality, a realm based on synthetic, computer-generated forms, and thus entirely artificial.

The dimensions and proportions of the room were familiar—a phone on a pedestal added to the sense of normalcy—but the viewer’s first impression was