The stereograph was first popularized in the mid-nineteenth century as a device for “parlor travel,” a way to see the world’s exotic sites in 3-D from the comfort of one’s home. Figuratively speaking, however, stereoscopy—the juxtaposition of two perspectives that, viewed together, create an impression of depth—has always been the domain of the émigré, a class to which the Peruvian-born, Berlin- and St. Etienne–based artist Armando Andrade Tudela belongs. His exhibition at the frac Bourgogne came equipped with room-size View-Masters—again, figuratively speaking: two ad hoc walls staggered in