In her installation Period Room, 1998, Amy Hauft challenged expectations about site-specific works and their architectural moorings. Laid out in a formal grid, a waist-high horizontal plane of caned plywood frames filled the entire space except for a narrow winding walkway branching off in three short paths. Each led to a caned chair, handcrafted by the artist. By contrast to the museum period rooms referenced in the work’s title, the viewer became a participant whose passage was regulated through the piece. It somehow felt natural to raise your arms while negotiating the paths to the chairs,