The work of the Swiss artist Markus Raetz shows traces both of the fantastic, in the German tradition, and of Conceptual art. A body of work at least unique would arise from this combination; add to this Raetz’s admiration for the Swiss poet Robert Walser, and it becomes difficult to speak of him without seriously revising one’s categories. Until recently his work was almost entirely ignored in France, though it is well known to a broader European public. Raetz’s first exhibition in Paris, then, was of considerable interest.

Here, Raetz showed recent work. The visitor was greeted by a large wood