The first question that Jürgen Klauke’s “Pro Securitas” exhibit raises is, quite simply, what are we looking at? For the uninitiated, these shadow plays of semi-familiar forms are rather more compelling than comprehensible. Hybrid compositions that hover between description and design, they combine the oneiric style of the drawings Klauke entitled “Griffe ins Leere” (Grasping into emptiness, 1987) with a patently mechanical precision of detail. In fact, they are X-ray images photographed from the security equipment (as in “Pro Securitas”) at the Cologne airport, which Klauke has recombined and

On the heels of his beautiful intervention at the Lyons Biennale, Jean-Luc Vilmouth once again surprises us, this time with a retrospective in the form of an inventory of his procedures and investigations: “nature,” “habiter” (inhabiting), “interaction,” “outils” (tools), and “histoires” (stories).

When he is asked to define his practice, Vilmouth answers laconically, “I am a friend of objects,” rather than holding forth with respect to his extension of the strategy of the readymade. By passing for a “sculptor,” he enables objects quietly to exact a subtle revenge—a revenge against the order of