Marthe Wéry’s exhibition included work by the artist from 1968 on, but the Palais des Beaux-Arts resolutely resisted presenting the show as a retrospective. It opened with Calais, 1995, a willfully unfinished ensemble composed, in this incarnation, of fifteen blue and gray monochrome panels, though the artist intends that it can at any moment be supplemented by one or several more; it changes at each installation, depending on the architecture accommodating it. Only after asserting these principles of incompletion, movement, and immediacy did the artist offer two early works—both called Composition