The announcement for Luciano Fabro’s exhibition read, “Computers di Luciano Fabro . . . Caramelle di Nadežda Mandel’štam” (Luciano Fabro’s computers . . . Nadezhda Mandelstam’s candies). The two phrases, presented like a book title, were connected by an open ellipsis. Fabro’s hand can be recognized in the subtle and continuous irregular mark that is his signature. It is a line that registers the amplitude of the arm, but also contains a double movement, rising and falling, revealing a relationship.

It is a relationship of love, a love that has tied Fabro to the great Russian poet, Osip Mandelstam,

Ange Leccia refers to his works with objects as “arrangements.” Unlike the term “installation,” arrangement implies a nondefinitive, ephemeral disposition of elements. Leccia expresses a sense of order based on symmetries and on correspondences between elements, and this structural precision gives rise to a new universe of meanings. Indeed, one might say that by combining objects, Leccia proposes orders aimed less at establishing a new system, than at intervening conceptually with existing ones.

Whether large or small, most of the objects Leccia chooses—televisions, projectors, suitcases,