You’re unlikely to find a sign saying “Do not touch” next to an installation by Andrew Sabin. Sabin’s in the business of creating physical obstacles that have to be pushed past, slipped through, stumbled over, or climbed. His last big installation, The Sea of Sun, 1992, was a heaving labyrinth, its “walls” made from rows of chains suspended from the ceiling and imprinted with colored imagery: walking into it was like entering a Byzantine church that had been built from banks of seaweed. Sabin’s reeducation of the senses continues in his sequel to The Sea of Sun, The Open Sea, only this time the