The details are fascinating, but the central argument — that the birth of modernity can be traced to a meta-crisis spawned by the 0.1s problem — is worth understanding and appreciating whether or not you’re a time nerd like me.
There is no convenient leitmotif, comparable to the 0.1s problem, for our contemporary version of the rhyming conditions, but something very similar to the “tenth of a second crisis” is going on today. I suspect our Great Weirding too involves some sort of limiting factor on human cognition that we haven’t yet properly wrapped our minds around. It isn’t reaction time, but something analogous.
Robert Smithson and other so-called land artists simply disengaged from architecture, placing their works in America's open landscape, leaving behind the museums and galleries Smithson referred to as "tombs". A new "expanded field" allowed artists to contextualize their work beyond the institutional frame of the museum or the commercial structure of a gallery. Richard Serra, who also began to move outdoors, at times chose to "attack" architecture, creating structures that disrupted or overwhelmed the buildings around them.
The artists of the Light and Space movement took another tack. Rather than fight or flee the architecture, they explored and manipulated it, approaching architecture as a kind of found object, creating a series of rooms that incorporated architecture and architectural structures directly into their art. Bruce Nauman summarized it well: "When you work in a gallery or museum, the architecture is a given. If you wanted to have a show, you didn't have a choice, except to deal with it. You had to find a way to either absorb architecture into the piece of build your own."