Installation view of “The Index” chapter of Feux pâles with, from left to right: les ready-made appartiennent à tout le monde ®, 1990 (1990); les ready-made appartiennent à tout le monde ®, computer (1990); Robert Morris, Card File (1962); and Marc Blondeau, 11 rue de Miromesnil 75008 Paris (1990), CAPC/Musée d’art contemporain de Bordeaux, 1990
Philippe Thomas, Feux pâles, 1990
by Elisabeth Lebovici
from THE ARTIST AS CURATOR #5 – in Mousse #46
Part of this story is easy to tell: Feux pâles took place from December 7, 1990, to March 3, 1991, in the upper exhibition galleries of the CAPC / Musée d’art contemporain de Bordeaux, an old, grandiose, Piranesian-looking warehouse for colonial foodstuffs that was built in the late 18th century and converted into, first, a contemporary visual arts center (CAPC), then into a museum of contemporary art.  On the surface, Feux pâles might have looked like a rather ordinary group show, conventional in many respects. But, as even its title suggests, one must look closer at the “evidence,” in which the exhibition is but one piece of a far larger puzzle.