“The Window,” an exhibition by and with Haim Steinbach at the Statens Museum for Kunst in Copenhagen, puts you in a tantalized state. The exhibition is the first of a new series at the SMK which will invite artists, over the course of three years, to explore and expand aspects of classical museum practice, such as collecting, displaying, arranging and, by extension, the writing of art history. This series takes place in the so-called X-rummet of the museum, an experimental venue for contemporary art. Steinbach places works from the SMK collection, such as mesmerizing trompe l’oeil paintings by 17th-century Flemish painter Cornelius Norbertus Gijsbrechts, Henri Matisse’s Interior with a Violin (Room at the Hotel Beau-Rivage), 1918, and Robert Smithson’s Eight-Part-Piece (Cayuga Salt Mine Project), 1969, alongside some of his own works (including the text work and to think it all started with a mouse, 2004). Part of the exhibition is also a collection of figurative salt and pepper shakers sourced by the museum’s personnel. Steinbach created an architectural structure of walls, steel frames and windows to house these works—a little plateau that holds it all together, guides your gaze and offers new perspective on the works. The installation creates the sense of a never-ending string of discoveries, new associations and surprising connections between the diverse and wide-ranging works.