In Ettore Spalletti’s Carte Rosa (1998), twin panels, pale pink on both sides and eight feet tall, form an unframed square. They are not flush with the wall. Air has worked its way beneath one of the panels, ballooning its lower edge so that it is like a curtain giving way to wind from an imagined window.
In perhaps his most poignant projection installation to date, William Kentridge revisits the music of Dmitri Shostakovich. Kentridge’s Metropolitan premier of Shostakovich’s satirical opera The Nose (2010) was a celebratory kaleidoscopic panoply of Russian Constructivist artistic innovation.