In 1977, a twelve-year-old Dominique Gonzalez-Foerster visited Marcel Duchamp’s exhibition at the newly opened Centre Pompidou. Evoking this seminal experience at the threshold to her own Pompidou survey thirty-eight years later, Gonzalez-Foerster adhered a life-size transparent photograph of Duchamp’s show to a street-facing glass wall and retrofitted the abutting exhibition space with elements of the museum’s original decor. Inside this installation, Espace 77, 2015, viewers stand on period gray carpeting amid Michel Cadestin’s President armchairs and look through ghostly images of Duchamp’s

Rachel de Joode’s exhibition “Porosity” provided viewers with numerous ways to understand the oscillation between object and photograph, between 3-D and 2-D, between virtual space and physical space that has long characterized her work. In the video Soup, 2015, we see the artist’s hands as she soaks various objects in a whitish and viscous liquid. Shot from above, the comings and goings of, for instance, some bubble wrap, a photograph, or a paintbrush give the screen a sense of depth. Soup shows that everything, even a croissant that floats like a dinghy and resists going under, can become a