Severed doll heads with distorted faces—those were the first works I ever saw by the young Austrian artist Anne Schneider. Turned inside out, their eyes, noses, and mouths had been deformed into uncanny caves. At the time, it struck me as an act of brute force. But Schneider’s current solo exhibition makes it dear that these were not objects of destruction but rather sculptures of a strange, cavelike architectural utopia. While the openings in the face previously functioned as enlarged entrances into organic buildings, Schneider now focuses on the world beyond the entrance, designing curious