Sarah Oppenheimer

[14][15][16] Oppenheimer modifies areas of transition such as thresholds, hallways, windows and doors in order to reveal and reshape spatial hierarchies of observation and influence.

[3][19] Writers relate Oppenheimer's strategies to those of environmental psychology, situationist psychogeography, and to the work of artists such as Lygia Clark, Robert Irwin, Hans Haacke and Andrea Fraser.

[23][24] Mutable wall panels were reconfigured in the museum space while navigational research was conducted on test subjects monitored under controlled conditions (e.g., Hallway, 2002).

[3][7][32] The New York Times's Roberta Smith described D-33 as "a new variation on the empty-gallery-as-art," which combined graphic punch and Caligari-esque Expressionism to torque space "in ways both apparent and mysterious.

[2][6][4] Oppenheimer extended her engagement with passageways and apertures to include movable and manually activated partitions utilizing the concept of the "switch"—devices or junctures that modulate or articulate movement and change, such as open/closed, reflection/transparency, continuity/separation.

[8][5][18] S-399390 (Mudam, 2016) featured two inhabitable glass passageways that repeatedly changed position in the museum's Grand Hall according to an orchestrated scheme, modifying visitor movement, sightlines and perceptions of the space.

[8] During a two-year residency at the Wexner Center for the Arts, Oppenheimer developed a human-powered apparatus, the biased-axis rotational frame mounting system, for which she received a U.S.