In Pia Rönicke’s recent exhibition “Dream and action find equal support in it,” everything was a matter of transparency—above all, that of the forms and ideas she assembled and borrowed from the Irish-born architect and designer Eileen Gray, whose oeuvre and precepts served as a script for what might be called an augmented or collaborative solo show. But transparency was also a matter of the Danish artist’s very approach, since she exhibited here, without restriction and without restraint, documents in the rawest, most straightforward form possible: photocopies, collage, low-resolution

A completely delightful mental exercise was offered by the curatorial team Yoann Gourmel and Elodie Royer: Take an artist unjustly relegated to obscurity by art history because unassimilable to a particular medium or movement; revisit his multifarious oeuvre, measuring it by the yardstick of contemporary standards; then peer into the cracks thus opened to illuminate, by the light of a new day, many of today’s works and practices. This magic formula is that of “Le Sentiment des choses” (The Feeling of Things), the stunning “prospective retrospective” not so much of as around the work of artist