HARVEY OPGENORTH KNOWS that one way to consider the many legacies of modern painting is to step into its shoes. Opgenorth begins the works in his ongoing “Museum Camouflage” series, 1998–, with a visit to a major American art museum, where he selects a well-known painting—an Ellsworth Kelly at the Metropolitan Museum of Art; a Matisse at the Museum of Modern Art in New York; a Frankenthaler at the Milwaukee Art Museum in Opgenorth's hometown; and, this summer, a Rothko at the Art Institute of Chicago (where he was prevented from completing his performance). In each case, Opgenorth studies