Daniel Buren's current intervention at the Picasso Museum in Paris inspires a second glance, causing a stir in the perspectival understanding of the building. Cutting through the entire building, a one-sided mirrored structure moves from the front courtyard through the interior's three floors, to arrive out the back, as a further extension into the garden. The cut is literally a perfect mirror image - located directly in the center of the building the work is an unavoidable invisible gesture, disturbing while also seemingly leaving intact the architectural image. A form of spatial magic, a supplementary object, a fold or a house of mirrors, Buren's reworking of the Picasso Museum might be said to celebrate an extravagant form of minimalism, recalling previous works, such as Robert Smithson's mirrored displacements or even Dan Graham's reflective pavilions, where mirroring seems to function as a material insertion that offers means for extended reflection on the question of perception and place.
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