The twelve monumental apostles lining the transepts of the seventeenth-century chapel at La Salpêtriére Hospital have entered into an unlikely aesthetic communion with numerous works of contemporary art, from Christian Boltanski’s latter-day votive altars and Rebecca Horn’s self-playing musical instruments to Mario Merz’s igloos and a Bill Viola video triptych. Every year, the august sculptures—like the various altar paintings, religious statues, and other incitements to piety distributed throughout this imposing sanctuary—become setting and foil for a site-specific intervention commissioned as