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By extension, what would an exhibition be like if it were rid of all “correlationism”? This term, coined by Quentin Meillassoux, refers to the idea that knowledge of the world is always the result of a correlation between a subject and an object, the typical perspective of Western philosophy. A fascinating hypothesis, but one that only leads to an impossibility: it is the concept of art itself which then shatters, because it is based specifically on and within such correlationism. As Duchamp said, “The spectator makes the picture” – the latter being transformed into an object as soon as it is taken out of sight. The difference lies in what generates an action: either collisions between objects, or the analysis of data with intelligence, or the production of works of art – that is to say, Brownian motion, unpredictable and fertile.