In contrast to those artists who a priori determine a group of hypotheses and a specific style to correspond to it, Michel Gérard began by analyzing the theoretical foundations of sculpture. For a long time that analysis was the principal object of his work; once this stage was over he abandoned all references and direct allusions to the philosophical, conceptual, linguistic, and historical implications of sculpture. And this exhibition amply showed this.

Gérard offered not just one series of pieces representing the results of focused research, but several styles which maintain strong but