Phora, Ann Hamilton’s current installation at La Maison Rouge in Paris, occupies all three of the foundation’s galleries plus the connecting corridor and basement. By inhabiting the space acoustically as well as plastically, Hamilton integrates this heterogeneous amalgam of rooms without masking the building’s structure, orchestrating the visitor’s trajectory into a sequence of interrelated experiences via the movement and motif of sound.

In recent years Hamilton’s longstanding interest in ways that bodily and linguistic experience form and shape our understanding of the world has moved away from

Luigi Ghirri (1943–1992) was one of the first artists, in the early ’70s, to practice color photography as a way of adhering to reality, a limitless reservoir of hieroglyphics to be deciphered. Forty original prints from 1970 to 1990 and eight new prints authorized by Ghirri’s widow, with the sea as their common theme, allowed for a good grasp of this artist at the crossroads of Pop and Conceptual art. Certain images record the signs of human presence (advertising or movie posters, signposts, decorations painted on the doors of beach cabanas) and, through the effects of cropping, reveal their