THERE IS SOMETHING wonderfully perverse about the Fondation Louis Vuitton’s decision to devote its first solo exhibition of a woman artist to the designer-cum-architect Charlotte Perriand, an unrepentant leftist who would have detested the cult of luxury championed by the LVMH conglomerate (the foundation’s creator and arm’s-length sponsor). The exhibition’s title, “Le monde nouveau de Charlotte Perriand”—the English version of the catalogue translates this as “Charlotte Perriand: Inventing a New World”—derives from a letter she sent to her colleague Pierre Jeanneret in 1936, a year marked by

Zineb Sedira’s film mise-en-scène, 2019, opens with a text reading, “In June 2018, after a visit to the Cinémathèque of Algiers archive, I decided to browse in bric-à-brac shops. . . . I discovered two canisters containing fragments of worn 60s, 70’s and 80’s films. The vendor told me the canisters came from a retired projectionist . . . so I pieced the footage together to create my own film.” The result is roughly nine minutes of enigmatic footage, spliced together and colorfully tinted, that ranges from scenes of daily life in Algeria to abstract rhythmic patterns produced by the decay of the