Along their descent down the ramp into the MAAT’s ovular, central exhibition space, visitors encounter a series of angular, austere, and imposing structures that are formally reminiscent of military architectures. Like medieval castle walls, with embrasures mediating the simultaneous necessity to look out while not letting anything in, gaps between the structures obstruct and frame views into a brightly illuminated, enfilade-like space. The perceptual logic of concealment and revelation is carried further by a series of circular cuts made to the structures’ inward-facing walls that confess their hollowness while presenting a panoply of material from the architect/artist’s dynamic, evolving, and multifarious practice. Over the nearly thirty years covered by this mid-career retrospective, Faustino has worked with buildings, installations, furniture, prosthetics, video, photography, speculative design, performance, and more to confront and transform the normative limits of architecture and the body, which, as his work proves, inextricably condition one another. This is evident in Asswall (2003), which creates a literal hole in a wall the size of a single body, and Home Suit Home (2013), which refashions stiff carpet into a garment for the body. But it is perhaps best demonstrated by the scale model of One Square Meter House (2001–06), a …