It was hard not to be moved by Michéle Waquant’s latest installation, Impression Debacle, 1992, a video and sound environment that presented nature as a cathartic force, rather than as an object for creative interpretation. Waquant’s earlier videos include 212, rue du Faubourg Saint Antoine, 1989, in which voyeuristic shots of passersby taken from a window are stretched out of shape, anamorphized, and only fleetingly come into focus. These recorded images distort time with a neurotic urgency. En attendant la pluie (Waiting for the rain, 1987), a video totem of four vertically stacked color