André Cadere, like Michael Asher, Marcel Broodthaers, and Daniel Buren, ranks among those artists who began to work in the ’70s and whose critical practice—and its relation to art world institutions—has become increasingly relevant over the years. The fact that Cadere never attained the degree of celebrity these other artists did is perhaps due not only to his untimely death in 1978, but also to the intimate link between his work and his own presence when it was exhibited.

While many associate Cadere’s work almost exclusively with his “Barre de Bois Rond” (“round bar of wood”)—a pole made of