The trajectory of Arman’s retrospective at the Centre Pompidou (now on view at the Tinguely Museum in Basel) was thematic, showing the artist’s pursuit of certain operational modes between the 1950s and the ’90s, and also the recurrence of several types of object; his production does not comply with common schemas of linear development or fall into distinct periods. Nevertheless, curator Jean-Michel Bouhous’s exhibition of 120 works imposed a visibly circular movement on his career: from painting to objects and back.

Arman, who was born in 1928 in Nice and died in 2006, came onto the artistic

All photography is a montage,” says Eric Poitevin. And, one might have been tempted to add upon leaving his recent show at the Galerie Nelson-Freeman, so is every exhibition: increasingly vertiginous, allowing one to envision infinite possibilities of reconfiguration, but also to appreciate the choices made by the artist. The presentation of the works on this occasion encouraged this impression: Poitevin undertook different strategies on each of the gallery’s two floors. Upstairs, five views of undergrowth were hung opposite two black-and-white diptychs of trees in winter. Chromatic richness