I love José Damasceno's installations. Along the lines of Tim Hawkinson and Tom Friedman, Brazil-based Damasceno uses hammers, chess pieces, erasers, pencils, and other familiar objects to create hybrids of sculpture and wall drawings.

El Siguiente Presagio/The Next Omen (Experiment on the Visibility of a Dynamic Substance) (1997) at the Tate Modern
The silhouette of a man floats behind a plate glass window. The empty suit is suspended by several yards of rope, strung from wall to wall and spewing out of the arms onto the floor. I love the visual cones created by each leg and the neck collar.

installation and close-up views of Trilha Sonora II/Soundtrack II (2002) at the 25th São Paulo Biennial, a wallscape created from many hammers

Observation Plan (2004) on MCA Chicago's second-floor lobby wall
Approximately 30,000 no. 2 pencils depict several figures looking at bare rectangles (being a nerd, I first assumed they were screens and not paintings/drawings, ha!).

Durante o Caminho Vertical (2001) and Organograma (2005) at the 51st Venice Biennale
28 floor-to-ceiling columns made from phone-book pages and the words 'ieri', 'oggi', and 'domani' (yesterday, today, tomorrow) branch across a wall.