A frenzied jangling echoes intermittently throughout the Feliza Bursztyn retrospective in the converted twelfth-century monastery and brewery that houses the Muzeum Susch. The sounds made by the Colombian artist’s kinetic sculptures, which are activated on a timer for conservation purposes, seems to beckon one through the large-scale exhibition that spans Bursztyn’s oeuvre from 1964 through to her abrupt death in 1982 at the age of forty-eight. Propelled by electric motors attached to constructions in metal and fabric, this rattling encapsulates the drive to provoke that undergirded Bursztyn’s