After 45 years as an American in Paris, photographer William Klein speaks an effortless, nearly accentless French, but he still expresses himself with the brashness, the humor, and the ironic edge of a native New Yorker. There is something of the same incongruous mix in his photographs. For all that has been made of his iconoclastic subjects and shooting style—the wide-angle distortions, the grainy images, the multiple exposures, the camera movement that have always been his trademark—the image itself is communicated with the elegant formalism of a painter.

Klein himself makes no secret

With back-to-back solo shows, Stéphane Magnin, a young artist working in a vein similar to that of Philippe Parreno, Pierre Joseph, and Paul Devautour, creates “behavioral décors” conceived as artistic responses to Guy Debord’s universe of the “integrated spectacle.”

While the Situationists worked out participatory stagings that aimed at getting past spectacular alienation, Magnin’s exhibitions are alienated spectacles. The spectator is immediately integrated into the spectacle and becomes one of its components, an actor in spite of himself confronted with a universe of artificially generated