Despite its domination of the French art world in the ’70s (when it quickly replaced Nouveau Réalisme as an official institutional “avant-garde”), the production of Supports/Surfaces has never been able to stir up much interest outside France, and even at home it has largely fallen into oblivion. A reassessment of Supports/ Surfaces today requires a selection of the best work and a clear presentation of the context in which the group emerged, achieved its hegemonic position, and then disintegrated. In “Les années Supports/Surfaces dans les collections du Centre Georges Pompidou,” a selection of

Sophie Calle’s work stands in the twentieth-century tradition of turning life into fiction and fictions into life. Her art consists of imagining scenarios in which she herself is implicated and arranging these vignettes so that she can physically live out the adventures of her heroine, adventures that she then records in photographs and journal entries. Many of these works have given rise to books, and the story of her marriage to Greg Shepherd was the subject of a film, No Sex Last Night (1993), whose success contributed to her reknown outside artistic circles.

It is no surprise, then, that Paul