I'd be inclined to say that bar should be manageable, D# and all, if you don't insist on legato all the time. (I'm always after students for that, too.) My edition (Peters) doesn't even have phrasing slurs in that section. It would make complete sense to finish the phrase on the D#, whether you're using legato or portato or whatever, then move in the air over to the high G to start a new phrase there. The movement through the air, far from being a "hiccup," can helpfully emphasize the start of a new phrase in the LH esp. if it begins in the middle of a RH phrase.
It might work nicely if you took a similar little breath right after the A# two measures earlier, even though that measure doesn't present any technical obstacles to legato.
I have two editions: one is the Peters and the other Koenemann Urtext. The fingering suggested in te Peters for bar 139 (4 on a sharp followed by 2 for the d seems to suggest relasing the a sharp and not playing legato. On bar 141 there is no fingering, but, by analogy, this is what should be done.
I realise I am wrong and know nothing, but Mozart would not, by any streach of the imagination, have wanted legato because such a thing would have been impossible in his time on the existing pianos. It is only in our times that musis is written for instruments that are yet to be invented that can perform it.