French artist Philippe Parreno sees the medium of exhibition as a living organism that can be set in motion by light, sounds and images. He controls his staged spaces with the help of algorithms that synchronise the behaviour of the objects contained in the room. As such, it is difficult to know what to expect. It seems certain that some old works will reappear. For example, a cuttlefish, an animal that turns up often in Parreno’s work will star in Anywhen, a film shot in 2016, which has recently been entirely re-edited. Many of these past works that may reappear were never really artworks to begin with. For example, the flower wallpaper previously seen as a background element in the set of Parreno’s film Marilyn (2012) moves to the foreground becoming an individual work covering a gallery wall. “Fireflies” will return too: hundreds of drawings of lightning bugs flash on a large LED screen and then fade away, their lifespan governed by complex algorithms. Certainly, this coming and going of old characters has something to do with birth, death and rebirth. Indeed, two gigantic inflated cartoon baby heads, one of Parreno’s oldest works dating to 1993, will take on a new life. When (or if) these old works meet, only time will tell how they will get along. Will they resonate? What new realities might emerge?