IN THE CATALOGUE for the Victor Brauner retrospective at the Musée d’Art Moderne de Paris, director Fabrice Hergott describes an institutional mission “to draw the public’s attention to the existence of work by nearly forgotten great artists.” Brauner—whose first and last major retrospective was in 1972 at the Musée National d’Art Moderne—certainly fits this bill, having been all but written off as a minor Surrealist. As reintroduced by curator Sophie Krebs (with assistance from Jeanne Brun, Nadia Chalbi, and Camille

In 1985 Pontus Hultén founded the Institut des Hautes Études en Arts Plastiques (Institute for Advanced Studies in Fine Arts), an alternative art school in Paris modeled after the Bauhaus and Black Mountain College. Daniel Buren was among IHEAP’s original faculty, and Philippe Parreno was one of his students. In the years since, Parreno has often cited Buren’s influence, and Buren included Parreno in an exhibition he curated in 2007. Their work has been shown together on several occasions, and as of 2016 they are both represented by Kamel Mennour. But the recent show at the gallery’s newest