At the entrance to the Carre d’Art, site through mid June of the first large-scale exhibition devoted to Thomas Struth’s work in Europe, two oversize photographs face one another: an exterior shot of the Buddhist monastery of Todai-Ji in Nara, Japan, and an interior view of the Pantheon. These international tourist destinations were also originally places of worship, so it’s not unexpected to see these images, among seventy-eight other works by Struth, displayed here, a few yards from the Maison Carrée—a Roman temple from the beginning of the Christian era now transformed, naturally, into a