During Dennis Oppenheim’s forty-plus years of artmaking, his idiosyncratic output was variously, if a little awkwardly, squashed into the categories of Land, Body, and Conceptual art, each of which he playfully mined and subverted. For the tightly curated show “Thought Collision Factories,” Lisa Le Feuvre, head of sculpture studies at the Henry Moore Institute, focused on the pyrotechnic pieces Oppenheim made between 1972 and 1986, emphasizing his playful, noisy, and outlandish machine structures and firework projects. At the center of the exhibition were two large contraptions from 1982,