With such progression come ideas of space, duration,
viewing, and the necessary destabilization of this triad — a process of
unsettling that is made all the more urgent by the museum's «cultural confinement,» to dust off Robert Smithson's handy term — a concept acknowledged by Eliasson even as he updates it to speak to the long -
established and more or less pervasive institutional insistence on blinding viewers to their own perceptions.