A photograph reveals a man sprawled facedown in the street, alone except for a distant cyclist and the presence of the camera. A send-up of Yves Klein’s infamous 1960 photomontage, this work, Romanian artist Ciprian Mures¸an’s Leap into the Void, After 3 Seconds, 2004, restages Klein’s iconic gesture of artistic freedom. On view here, it served to highlight one of the primary themes of “Six Lines of Flight”: the relationships between as many emergent art scenes and more established centers. Mures¸an’s image is exemplary of the witty, intrepid, performative practices of the artists selected for