In Montréal, if you want to see Gilbert Boyer’s La montagne des jours (The mountain of days, 1991), you take the footpath that winds up and around Mount Royal and look along the ground for five big, flat roundels of granite, which, depending on the season and/or maintenance, may or may not be covered by leaves or snow. In Paris, the two flights of elegantly carpeted stairs leading to Boyer’s recent exhibit also went up and around, and if the trek wasn’t exactly the same, the sixteen “Réflexions-Intérieur” (Reflections-interior) lining the gallery walls were—as the title suggests—among other

In Montréal, if you want to see Gilbert Boyer’s La montagne des jours (The mountain of days, 1991), you take the footpath that winds up and around Mount Royal and look along the ground for five big, flat roundels of granite, which, depending on the season and/or maintenance, may or may not be covered by leaves or snow. In Paris, the two flights of elegantly carpeted stairs leading to Boyer’s recent exhibit also went up and around, and if the trek wasn’t exactly the same, the sixteen “Réflexions-Intérieur” (Reflections-interior) lining the gallery walls were—as the title suggests—among other