L’intime, le collectionneur derrière la porte (Behind Closed Doors: The Private World of Collectors) was the inaugural exhibition of the private foundation La Maison Rouge. Filled with sixteen near-replicas of collectors’ salons, offices, bedrooms, and even bathrooms and WCs, all filled with artworks and posh furniture, and representing extracts of larger collections, its rooms were constructed like linked stage sets leading viewers from house to house to peek through open windows and doors. None of the collectors were named, except the Maison Rouge’s founder, Antoine de Galbert, who showed

It was the world turned upside down: In the entrance of the Palais de Tokyo, Daniel Buren had replaced his signature 3.39-inch stripes with colorful pop circles; through the looking glass, Bruno Peinado, a rising figure on the French scene, created a raucous and voracious exhibition around a huge open book . . . which, of course, was striped! Beyond an amused wink at his exhibition neighbor, Peinado was thinking, above all, of the gallery of ancestors that opens every volume of Tintin—except in Peinado’s version the family portraits have been carefully removed, leaving the barely visible