“Would you like to interact with the sculpture?” A guard greeted me with this question immediately after I entered the room at the Pérez Art Museum in which Sarah Oppenheimer’s new work S-281913, 2016, is installed. The invitation at first struck me as oddly redundant. All of the artist’s works that I had encountered previously were interactive by default, consisting of razor-sharp transformations of gallery architectureusually a series of cuts through floors, walls, or ceilings in combination with planes of reflective glassthat collectively effected a complex and continuous reshuffling of viewers’ experience of the space they inhabit. The fundamental theme of this work is the feedback between architecture, movement, and perception; it can be understood only through wholesale haptic engagement.
But as the guard began to issue a stream of orders, apparently having taken
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