For several years now, Gloria Friedmann has waged a campaign against the blurring of boundaries between media images and real life. In a series of ephemeral tableaux vivants entitled Les Représentants (The representatives, 1994–96), two of which were presented in her recent show, she leads the viewer to an abrupt confrontation with natural substances that are becoming less and less visible in today’s environment. In each of these works she boldly places animals and the detritus of mass-market culture side by side on a meaningful site: horses and wrecked cars in a working-class residence in