Living within a sculpture, becoming one with it as an object: This is the obsession of Abraham Poincheval, who, like a character in a Werner Herzog film, is an explorer of extremes. For Ours (Bear), 2014, at the Musée de la Chasse et de la Nature in Paris, he enclosed himself inside the carcass of a bear, remaining there for thirteen days. More recently, Poincheval has hatched eggs, sitting like a hen for a three-week incubation period (allowing himself a half-hour break every day), inside a transparent display case with a temperature of 98.6 degrees Fahrenheit, covered with a traditional Korean

Despite being an outlier in many ways, Peinture cherche le mur A (Painting Looking for the Wall A) (all works 2017), a small painting of a simplified orange flashlight, fittingly illuminated Elodie Seguin’s usually less straightforward explorations of form, color, and texture. The cylindrical orange and red shaft emitting a conical gray-white beam—the most overtly representational element in the artist’s recent exhibition “Peinture sculpture peinture”—encouraged viewers to seek out figuration and symbolism in other works on view, which might otherwise be mistaken as exemplars of pure

“L’élargissement des fantasmes” (The Widening of Fantasies) dwelt in the artistic interstice between expressions of identity and individual experience. Desire and the potential ability to know rather than understand the desire of an “other” were central to this exhibition, according to its curator, Eva Barois De Caevel, who grappled with the occidental refusal “to grant men and women of other societies functionings and feelings that differ from their own when it comes to sexuality, love and intimate relationships.” Ultimately, the body itself was at the center of the exhibition, which took up