With my nose to a millimeters-wide gap between wall and floor on the building’s top story, I tune in to a thrumming disruption. Dora Budor has channeled it into the very arteries of the Kunsthaus Bregenz: remote-controlled sex toys have been placed in a ventilation system that should operate invisibly and inaudibly. Instead sound resonates—sometimes faintly, then a crescendo, a solid impression. For an extra frisson, the 2022 work is titled Termites, to spell fear for wooden-building-dwellers the world over. The stimulation might be a gift or a curse. In his famous 1976 essay, Brian O’Doherty defined what a white cube for art means: a space aspiring to neutrality, even if that is ultimately an illusion. In Bregenz, the architect Peter Zumthor took a controlled environment for display to the next level, creating a blank page onto which art can be written. In an array of sumptuous stone-based material treatments, four high-ceilinged galleries are stacked on top of each other, connected by straight flights of stairs to make a nigh-on spiritual experience. (Spiritual spaces are a Zumthor speciality; among his best-known projects are the Bruder Klaus Feldkapelle, or field chapel, outside Bonn, and the Kolumba Museum in Cologne, which …