Paris is the hometown of movie director Jean-Luc Godard, the city where photography was invented, the capital of French colonialism, and the site of the Louvre, one of the world’s most famous museums. The selection of these data is not random; it corresponds to the various stations in Fareed Armaly’s installation, The (re)Orient, 1989. The relationships between these data require a path that is provided by the installation architecture and by Armaly’s accompanying text: “The (re)Orient occurs within the space of a type of architecture whose important contribution to the discourse of ‘the Orient’