NO ONE COMES TO DIANE ARBUS without a bushel of prejudices. She is the most demonized of the 1960s street photographers, so freighted by her reputation as bad girl and victimizer that it is almost impossible to truly look at her work. In “Pierre Leguillon features: Diane Arbus, A Printed Retrospective, 1960–1971,” recently on view at the Kadist Art Foundation in Paris, however, this is exactly what French Conceptual artist Pierre Leguillon attempted to make us do. To create the show, he trawled the Internet for issues of Esquire, Harper’s Bazaar, Nova, and other English-language magazines that

Following his “module” at the Palais de Tokyo in 2008, Mark Geffriaud’s first solo gallery exhibition was marked by a change of scale. In 2007– 2008, Geffriaud participated as one of four artists in Elodie Royer and Yoann Gourmel’s exhibition cycle “220 jours” (220 Days)—a kind of gestation tank for young French art that went so far toward defining a new tendency that its name has begun to double as an epithet. It was thus easy to look to his wistfully titled debut “Si l’on pouvait être un Peau-Rouge” (If One Were Only an Indian) for a perspective on the future of this tendency, if not of French