In the mid-20th century, artists began moving beyond sculpture to installations and immersive environments. The Argentinian artist Marta Minujín, for example, created the Minuphone in 1960s New York—a telephone booth visitors could enter, dial a number, and watch as sounds and a swirl of colors lit up the glass panels. A few years later, in 1974, Judy Chicago began work on The Dinner Party, a large triangular table with 39 place settings, each commemorating the nether realm of a mythical female figure, from martyrs to goddesses with artists in between. These works were often misunderstood by critics. The New York Times wrote that Chicago’s installation “looked like an outrageous libel on the female imagination,” and yet today it is considered a landmark of feminist expression. The exhibition “Dream Rooms” reconstructs some of these zeitgeist works, in some cases with the help of the artist who made them. —Elena Clavarino