Guillaume Paris thinks of the gallery as a “place of reflection” and his exhibitions as systems in which apparently heterogeneous objects set one another in motion and generate meaning through their arrangement. At first, one might be confused by the diversity of media put to use, from sculptural objects to video images, photography, and painting. What link can actually be established between the hermetic and vaguely disturbing inscriptions engraved on resin and Styrofoam stelae (Epiphanie 91a and 91b, both 2002), a mannequin of a child/angel encased in plastic (Infinite Justice, 2003), and a

Christian Boltanski’s most recent solo exhibition was a sort of summation of his work, but with an unexpected note that turned the show into an emotionally resonant event. The gallery space was divided into four parts, each set up as a station along a journey. The first stop was a large room dominated by a gigantic photographic portrait of the artist himself as a child, succeeded by ones at various ages up to adulthood, projected on a transparent surface that, blown by a fan, swayed in the air. The room was dark and the work difficult to see also because of the poor quality of the reproduction.