Most accounts of Christer Lundahl and Martina Seitl’s Symphony of a Missing Room, 2009, cast it as magic realism: a mélange of fairy-tale hallucination and reality beyond doubt. At appointed hours an audience, limited to six, assembled and, once outfitted with special surround-sound headphones, heard a disembodied female voice directing them toward the museum’s Renaissance rooms, where they donned opaque goggles, which translated everything that they might have seen into nondescript shapes in light and dark. A furtive detour within the museum commenced; routine sight and hearing now supplanted,