Using a system of visual and linguistic associations, magician Benoît Rosemont dazzles spectators with illusion and feats of memory. Aurélien Froment has performed with Rosemont, participating in his magic act, and for this exhibition, the artist channeled the magician’s mnemonic strategies and spectacles. Froment’s Les Paravents (The Folding Screens; all works 2009), made of wood covered in raw linen, formed the show’s physical and conceptual backdrop. Devoid of pigment and, apart from one color photograph, imageless, three of the folding screen’s panels are fixed within the structure’s metal

So much is in a name—particularly when that name happens to sound like Latifa Echakhch’s in a country like France, still reeling from postcolonial reckoning. “Pendant que les champs brûlent Part 2” (While the Fields Burn Part 2) was Echakhch’s second solo exhibition at Kamel Mennour and part of an attempt to define her name against the clichés associated with it, especially the aesthetic cliché that non-Western artists produce only sumptuous, ornamental art. The constant of both shows, the appreciable déjà vu that united two otherwise distinct propositions, was the installation A chaque stencil