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Christopher Williams

MAGASIN - Centre National d'Art Contemporain

For example: What relationship is there between a French car from the ’60s—a Japanese student posing for a fashion photo in 1993, papayas (of the Carica papaya Linné sort), and a dishwasher tray filled with brightly colored plates? This is the sort of question raised by Christopher Williams’s first solo exhibition in a French institution, “Couleur Européenne, Couleur Soviétique, Couleur Chinoise” (European color, Soviet color, Chinese color)—a title that is already somewhat confusing in light of the images presented. What was found on the walls of Le Magasin’s rooms, hung (“orchestrated,” one wants to say) at reduced height and with irregular spacing, were sixty or so photographs in black-and-white and color. (I counted sixty-one, though the brochure available at the entrance to the space mentioned sixty-four, an ambiguity that could no doubt be easily resolved but that gives

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