The first work the viewer encounters is a large cardboard maquette of the show they have just stepped into, complete with scale models of artworks, including one of the maquette itself, and crude cardboard miniatures of museumgoers like them. Maqueta ‘El caso de l(a casa) museo(a)’ (2024) signals from the outset that Belgian artist Joëlle Tuerlinckx intends to subvert not only viewers’ expectations, but the apparatus of exhibition-making. Across the museum’s six subterranean galleries, lights turn off and on at random-seeming intervals. Holes are cut into the walls. A room is rendered inaccessible by a sheet of Plexiglass. A printed text, affixed to the wall beside a fire exit haphazardly covered in lurid red paint, might have been written by a sentient fire alarm: “Hello dong ding dong drriiiing,” it says. Such interventions are in keeping with the spirit of early works such as Dacht en Nacht.MUSEUM OPEN 24/24 (1997), in which the artist opened a museum for 24 hours, with bright lights at night and darkness during the daytime. At once disorienting, atmospheric, and tongue-in-cheek, Tuerlinckx’s works heighten the viewer’s awareness of how the meaning ascribed to art is conditioned by the contexts in which it is encountered. …