The show's exhibition design, by young Mexico City–based architect Frida Escobedo, includes a simple-yet-clever spatial intervention. Playing off of Chipperfield's vaulted, angular ceiling, a series of wooden ramps escalates and narrows at one end of the gallery, carving out unique, shifting perspective points that draw the eye—and body—closer into the artworks. Among the artworks is Carols Amorales's interactive installation, We'll See How Everything Reverberates (Ya veremos como todo reverbera), which invites visitors to play with the forms. Photo 2 of 5 in Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

Pablo León de la Barra on Art, Architecture, and the Public Role of Museums

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The show's exhibition design, by young Mexico City–based architect Frida Escobedo, includes a simple-yet-clever spatial intervention. Playing off of Chipperfield's vaulted, angular ceiling, a series of wooden ramps escalates and narrows at one end of the gallery, carving out unique, shifting perspective points that draw the eye—and body—closer into the artworks. Among the artworks is Carols Amorales's interactive installation, We'll See How Everything Reverberates (Ya veremos como todo reverbera), which invites visitors to play with the forms.