In taking over the cool white cube of the Vienna Secession, Klaus Weber introduced a Baroque emotionality. Effortlessly unbalancing the Jugendstil symmetry of the central court, he used light, sound, and even odor to shake up this monument to functionality. In an anarchic masque, Beauty, Pleasure, Time, and Disillusionment appeared as allegorical figures on a stage that Weber prepared for his unusual repertoire. This versatile impresario, conceptual artist, resourceful laboratory technician, and master of the cover version knows, as the Situationists once said, that there’s a beach beneath the