Walking through the rooms of the first Parisian exhibition of the American artist Leslie Hewitt, held at Galerie Perrotin last September, there was a sensation that was difficult to define except with the term “exactness.” It was less about how the new Riffs on Real Time (a series started in 2002), abstract chromogenic prints and sculptures resting on the walls or lying on the floor, showed confidence in where they were exposed, and more that the arrangement, in its entirety, seemed to trigger a subliminal and cumulative “effect”—almost neurologically—in the viewer. Here Hewitt talks about the relationship between sculpture and photography, and the balance between minimalism, conceptual inclination, and use of preexisting, connoted images in her practice.

Christina Steinbrecher-Pfandt, director of viennacontemporary, discusses the singularities and offerings that make the fair unique, from the focus on galleries from Central and Eastern Europe, to the individualized services and attention dedicated to collectors and visitors.