This article explores the metafictional dimension of Lance and Andi Olsen’s recent productions, the novel Theories of Forgetting and the multimodal installation There Is No Place Like Time. Deeply influenced by Robert Smithson’s Spiral Jetty, these works foreground a material and spatial reflexivity which also calls for the reader/viewer’s active participation. While the hybrid novel relies on numerous photos and a complex typographical layout, the installation blurs the limits between reality and fiction, art and criticism, and expands the fictional universe into “a novel you can walk through”.