This paper examines sentences in Robert Schumann's piano music that cross the boundary between the contrasting middle section and recapitulation of a small ternary form. In the Classical era, composers generally establish the boundary between these two sections through a half cadence, a perfect authentic cadence on V, or a non-cadential dominant arrival. In some of Schumann's small-ternary compositions, specifically Op. 21, No. 1 and Op. 32, No. 3, the contrasting middle section can end without reaching either a cadence or a non-cadential dominant. Instead, Schumann can construct the contrasting middle section as the presentation phrase of a sentence, leaving it harmonically open-ended. The recapitulation therefore functions as the continuation and closes out the phrase, creating a paradoxical sense of division but also continuity. Thus, my exploration of boundary-crossing sentences provides further insight into Schumann's compositional style and expands our current theories of formal conventions.