Zurich’s Migros Museum made an ideal setting for an exhibition examining the emotions engendered by different kinds of spaces, as each of its galleries has its own, very particular atmosphere. In the first, airy, daylit room, for example, we were able to see in one glance environments as varied as Anish Kapoor’s hypnotic oversize white ear trumpet; Urs Fischer’s series of glass-andwood boxes, suspended in a state of semi-completion; and James Casebere’s photograph of hospital beds stacked chaotically in a cell-like space, the mundanity of the subject intensified by the diffuse gray light that

When Isa Genzken concluded work on her roughly six-year series of concrete sculptures in 1992, her turn to glass and mirrors might have signaled greater rationalization of her practice. The heavy slablike structures mounted on metal stands, which had defined much of her work in the late ’80s, were unruly, their pockmarked walls often suggesting buildings on the verge of collapse. The hard-edged, smooth surfaces of glass implied more stable forms, a cleaning up of her act. This new survey of work from the past decade, with its focus on recent projects, revealed that her practice has continued to