In the first room, Lee Ufan’s Correspondance questions both the presence and absence of space in painting, while one of Anish Kapoor’s famous concave mirrors inverts the reflection of the world alongside Ugo Rondinone’s basalt ‘nuns’, frozen in eternal meditation. Inspired by the beauty of nature’s colours, Joan Mitchell nurtures the idea of ‘abstract impressionism’, echoing the late work of Claude Monet: the same movement between figuration and abstraction, between exterior and interior, is also evident in the work of Judit Reigl, who thinks of the movement of a river, referring to the words of Heraclitus that ‘everything flows’, to create, in music, her Déroulement. As with Mitchell, chromatic abundance pervades the dreamlike figuration of Baya’s gardens, which echo the orange grove built on the ruins of a house that inspired Camille Henrot to immortalize the spiral of an orange peel. Sidival Fila, Alicja Kwade and François Morellet use fragments of trees to play with materiality and evoke the passage of time—Sidival Fila’s vine branch is covered in old nineteenth-century linen, Alicja Kwade’s trunk is petrified—while François Morellet ‘clings to the branches’, inventing the ‘geometree’. Finally, the last room reveals a large landscape between sky and sea by Ugo Rondinone, inspired by the sublime of German Romanticism, and opens onto a final mystery of vision, Anish Kapoor’s Non-Object Black.