It was around 1940 that Frederick Kiesler developed his Vision Machine, an exhibition design conceptualized to provide new ways of approaching art. Many years of research on the faculties of vision and fantasy as well as on the categories of pictorid representation went into Kiesler’s three-dimensional haptic model. Because of the recent preoccupation with innovative means of exhibition display, Kiesler’s Vision Machine served as a reference point for the presentation of “Timewave Zero/The Politics of Ecstasy,” in which artist-curators Lionel Bovier and Jean-Michel Wicker proffered the artistic