THE great Turbine Hall at London’s Tate Modern, a former power station, is a notoriously difficult space for an artist to fill with authority. Its immensity can dwarf the imaginations of all but a select tribe of modern artists who understand the mysteries of scale, of how to say something interesting when you also have to say something really big. Louise Bourgeois’s giant spider once stood menacingly in this hall; Anish Kapoor’s “Marsyas,” a huge, hollow trumpet-like shape made of a stretched substance that hinted at flayed skin, triumphed over it majestically.