Unfortunately, museum display and security don't allow Clark's work to be interactive (or even to function, really). With art museums as a "no touch" zone, most of Clark's interactive work is stuck on pedestals and behind glass cases. (Although, to be fair, in 2008-09 the SFMOA had an exhibition called "The Art of Participation" which allowed visitors to interact with works of art, including Lygia Clark's Diálogo: Óculos.)
But the mentality behind the "The Art of Participation" show isn't found everywhere. Consider the particular irony of this clip from the Walker Art Museum, in which the curator explains and demonstrates how the sculpture is supposed to be experienced, but then shows the Bicho ("Bug," 1960) sculpture placed behind a glass case:
Obviously, I understand why works of art need to be placed behind protective glass. I understand the element of preservation too, since constant handling of any sculpture will cause wear and tear on the piece. And, to be fair, the SFMOA blog has some great reasoning about institutional limitations in regards to participation, which was posted in conjunction with "The Art of Participation" show. (This blog post also includes a link to this video of people turning Lygia Clark's Rede de elástico ("Elastic Net") into a jump rope within the gallery, which is kinda fun but obviously dangerous in the gallery space.)
Still, institutional limitations aside, I wish that there were more shows like "The Act of Participation" in the museum world. Then Lydia Clark's art would actually be able to function, instead just being a neat thing to talk about.