The exhibition consists of a single installation in the institution’s main gallery—a staged destruction of sorts. Yet compared to past exhibitions, such as the technologically infused chaos of his work at the Swiss Pavilion at the Venice Biennale in 2011 and in his show at Gladstone Gallery, New York, in 2012, which explored the disaster that befell the Italian cruise ship Concordia, this one feels more fragile. The installation represents the ruins of an office space—the ceiling falling through, exploded rooms, a chaos of cardboard, foil, Styrofoam, and glossy brown masking tape. Broken bits of ugly old furniture, including shelves, misshapen desks, toilets, and white plastic garden chairs, are strewn across the gallery. Much of this bric-a-brac is taped to the walls and seems to fall from above. The result is an everyday, recognizable room blown to smithereens.