Like the chameleon we remember from childhood picture books, whose color modulates to match the background, the light-box Jeff Wall has unswervingly employed in his work since 1977 has changed over the years, or rather our perception of it has. Evocative of technology and advertising at the end of the ’70s, emblematic of “photoconceptualism” in the ’80s, the light-box has today acquired a virtual patina. Indeed, as a familiar, almost conventional element in the repertory of contemporary art, it can even seem somewhat dated (a sign, ironically, of its relative youth). Given all this, one may well

This exhibition—the first retrospective of Françoise Vergier’s work—included 70 rarely seen pieces dating from 1980 to 1995. The large number of works presented could perhaps be attributed to the fact that Vergier typically works on a small scale, with the exception of the life-size statues of women she sometimes sculpts.

In Vergier’s work one finds evidence of her sensitivity to nature, her affection for literature, and her loving relationship with her child. Despite this personal aspect of her oeuvre, some of her work retains a link to Conceptualism. The early pieces that appeared in this

With her latest series of photographs, Corinne Mercadier comes full circle. For about ten years now, this Parisian artist has used a Polaroid camera to explore the ambiguous territory between public and private space. Starting with standard-format color photographs that she shoots with an ordinary camera and has developed commercially, she uses her Polaroid camera to invest the ready-made world of the snapshot with a contemplative awareness of time.

Until now, she applied her latter-day alchemy to landscapes and seascapes devoid of human figures. The places and spaces depicted are still anything