It was only last year that Markus Schinwald transformed the Austrian Pavilion at the Venice Biennale into a labyrinth open to the feet and closed to the gaze, but the Lentos Kunstmuseum in Linz recently also put on a compelling exhibition of this artist’s work. The exhibition hall, a heroically scaled space of 8,600 square feet and a good eighteen feet in height, is like the parking garage for the Batmobile, and it suited Schinwald’s purposes perfectly. The pathology of uncomfortable spaces and the syntax, emotional undercurrents, and psychological aspects of empty interiors have often given