Amelie von Wulffen’s first solo museum show in the US comprised fifteen canvases that surrounded a conspicuous architectural intervention: The main gallery’s ductwork had been handpainted green and connected to the gallery floor by four green-striped faux columns that looked like so many oversize maypoles. Although this sculptural appendage seemed a curious choice—prominently emphasizing the gallery’s worst preexisting features and clashing with the artist’s markedly intimate canvases—the spatial tension it created was precisely the sort of visual and symbolic conflict von Wulffen aims