Architecture and self-portraiture, as forms of mnemonic art, provide the two principal axes of the works in Pascal Convert’s show. This is immediately apparent in the first of the dozen rooms in this exhibition, where the motif that informs the entire show is introduced. In reconstitution, 1991, Convert works with an object that is lost forever: a ruined villa on the Atlantic coast, evoked here by an almost life-size axonometric drawing of its interior, traced on the wall in black graphite. There is also an image of the building’s facade—a very schematic, simple silhouette drawn freehand and