This unusual exhibition posed an inconvenient challenge to the mounting skepticism toward pictorial representation in contemporary art. How can one narrate in pictures without replicating models of male heroism cultural history that brought such revolutionary changes as the transformation of women’s role in society? French artist Dominique Gonzalez-Foerster grappled with this question, selecting what might seem an obsolete format—the panoramic painting, a legacy of the nineteenth century. Simply by choosing this all-encompassing form that was formerly employed to visualize historic events, the

The phantasmagoria was a form of entertainment popular in the late eighteenth century in which mobile magic lanterns were used to project fantastic images that conjured ghosts and demons. At the time, many viewers believed they were witnessing genuine necromancy, the spectral, flickering projection surface functioning as an interface between the living and the dead. Nomadic lanternistes also disseminated the news via their portable projections. The Magic Lantern, 2019–22, a film-based installation by French Moroccan artist Bouchra Khalili, delves into the dual origins of cinema, which emerged