“A museum devoted to different kinds of emptiness could be developed. The emptiness could be defined by the actual installation of art,” said Robert Smithson in 1967. “Installations should empty rooms, not fill them.” Margaret Honda articulated this emptying-out in three parts, one of which she calls Sculpture (all works 2015): “Every studio I’ve used in my life is reproduced—as one sculpture—at full scale. Consisting only of white walls, with no ceilings or architectural details, each studio is empty and represented solely by its volume.” Here in the Triangle France space on the fourth