ACCORDING TO ONE of modern art’s favorite legends, Constantin Brancusi arrived in the City of Light in 1904 on foot, having walked most of the way from Munich, his first stop after leaving Romania the year before. This is the kind of story that impressed curator Harald Szeemann, as it perfectly fitted his shamanistic idea of the artist as bearer of a personal mythology. Indeed, the anecdote must have been on Szeemann’s mind when he decided to include the Romanian artist André Cadere in his Documenta 5, in 1972, but only under the condition that the artist arrive on foot—and carry his