On a rainy day in May, the Miami-based artist Christy Gast and I decided to distract ourselves from working on the exhibition project that had brought us to Paris by going to check out Thomas Hirschhorn’s latest installation Flamme Éternelle at the Palais de Tokyo. It was a welcome surprise, upon entry, to discover that Hirschhorn had chosen to make his exhibition free of charge and had built a structure and a communication/signage system that bypassed the admissions desk and descend directly into the massive sub-floors of the art palace. Steered, as we were, by Hirschhorn’s usual language of cardboard, packing tape, and philosophical slogans, we soon found ourselves in what felt like a jerry-built city constructed almost entirely of tires and where the reigning feeling was “anything goes.”