The 16mm work A Private Tableaux (2010) turns this gaze around and points the camera at a series of drawings, which only remain art for as long as their perceiver cannot decipher them. Just as The Hidden Conference also this film begins with short fragments of text, introducing the perspective one is lead into, staging the scenery and -again and again – dividing it with textual insertions. The camera navigates along sparsely lit walls of a system of tunnels on which the engineers have been marking flaws and cracks for decades. Those drawings, left by men, cover almost each section of the wall, but still this network of deficiencies prevents the structure’s breakdown. The traces of all these cracks in the arches of the tunnel, their repetitions in chalk demonstrate, just like the artworks in the storage, an indirect imprint of what waits outside, of the ruling narrations of art history in one and of the menacing traffic above ground in the other case. The boundaries of art are opened up within a filmic archive of views, which construct new relations out of old rejections.