Consisting of high and low reliefs, this new group of artworks combines mirrors, colours (the different shades of which are chosen at random from an industrial palette), and Daniel Buren’s visual tool: alternating white and coloured 8.7-cm-wide vertical stripes. The primary quality of this tool is that of ‘being an invariable sign in the midst of millions of possible things that never stop varying’. [3]

Somewhere between flat and relief, painting and sculpture, each of the situated works in the series Du cercle aux carrés is a unique arrangement of brightly coloured solids placed in either a checkered or a cross pattern or in lines over an imaginary grid made up of evenly spaced squares on a circular, mirrored surface. The signature stripes appear on the prisms’ sides and are thus reflected.

This doubling is also at play in the in situ works in high and low relief that have been conceived in and for the last room. The room’s skylights bathe it in natural light that changes over the course of the day. In order to highlight or double this constant variation, Daniel Buren has installed on one side of the room a series of sharp-angled works that he has given the relatively enigmatic title Une fois j’te vois, une fois non, travail in situ [Now I See You Now I Don’t]. For this in situ work, the same prisms have been placed on top of one another until reaching the desired height. On the facing wall is a series of three-dimensional parallelepipeds in 2–3-mm-thick Dibond aluminum, a material that Daniel Buren has been using since it was invented.