More than a year after the polemics that marked the important work conceived by Daniel Buren for the Cour d’honneur of the Palais-Royal here in Paris, and despite the recognition that he brought to the French pavilion at the last Biennale in Venice, his position in France remains paradoxical. Although Buren’s international reputation has long been firmly established, his work as a whole—often reduced to the cliché of stripes, which for the artist is nothing but a simple visual device—continues to be unknown in his own country, even though just about everyone is familiar with the name of the