Luis Berríos-Negrón’s Collapsed Greenhouse is the display scenography for the public scenarios and transformative practices of Undisciplinary Learning. As an anticipatory spatial ecology, it is part of his Nonsphere series, in which he engages artistically and theoretically with contemporary environmental forms, collective experience and triadic formats of thought and production. The Collapsed Greenhouse is based on the critical exploration into the manifold idea of “greenhouse”, how it embodies the history of colonialism and its present advance in geopolitics and accelerated climate change. Appropriating their glassy figure and materiality, it destabilizes the growing, problematic ubiquity of industrial greenhouses (so called “greenhouse superstructures”) and reminds their role as translucent, quasi-temporary spectres from a future that comes to haunt us in the present. Striving to emancipate the greenhouse from the limited, dialectical instrumentalisation as industrial technology, the Collapsed Greenhouse challenges the toxic divisions between interior and exterior, human and nature, subject and object. Acting as a critical neighbour and site-specific form of resistance to “clean tech farms” that commercialise “food security” and health in lieu of climate change, this environment hosts an entirely different relationality and potentiality. This spatial potentiality is drawn from Berríos-Negrón’s work with the Anxious Prop collective on the constructivist scenography of Lyubov Popova for Meyerhold’s Magnanimous Cuckold (1922) in 2010. The mobile apparatus of the Collapsed Greenhouse takes inspiration from these transgressions of the limited frame of institutionalized cultural space and forwards the integration of public and collective. As a “social pedestal” the Collapsed Greenhouse displays collective experience as a political figure.