In a site-specific intervention at the Fondazione Guido Lodovico Luzzatto in Milan this past spring, titled“Figures of Climax of the Impersonal Empire,” French artist Mathilde Rosier established a dialogue with the house in which the great Italian intellectual and art critic spent his life, inserting her surreally inflected pictorial depictions among household furnishings and archival materials. In her concurrent gallery show, “Impersonal Empire, the Buds,” she modified the actual space, adding a wall, positioned diagonally to the entry corridor, that functioned as a screen for a video projection