IN THE SUMMER OF 2022, Susanne Pfeffer, director of Frankfurt’s Museum für Moderne Kunst, deinstalled the institution’s storied collection in anticipation of an upcoming exhibition. Titled simply “Rosemarie Trockel,” the comprehensive retrospective would occupy the entirety of Hans Hollein’s postmodern masterwork.1 Next, Pfeffer addressed the inherently disorienting character of the architect’s labyrinthine design. Spurning a strictly chronological layout and didactic forms of institutional guidance on the walls, she would invest her audience with an unaccustomed degree of agency. As visitors
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