Richard Serra’s Shift is safe. Threatened by a planned development near King City, Ontario, the work—a stretch of zigzagging concrete wall—has been designated a cultural heritage site by the township council. The 1970-72 work sits on private property.

“The artist builds himself and unmakes himself piece by piece; he self-constructs, as if he were a wall where cement is always wet and bricks can be shifted.” Linking her studies with Abraham Cruzvillegas to her grandfather’s unfinished house, left behind when the family fled Argentina’s dictatorship, Verónica Gerber Bicecci muses on paradigms that allow us to “start anew, because nothing is finished.”

In her work in the Venice Biennale, Hito Steyerl offers a how-to video on being invisible in an age of image proliferation, with tactics from facepaint that makes one disappear on green-screen to boxes worn on the head to appear “smaller than the size of a pixel.”