An austere stack of A4 photocopies unpretentiously sits on the floor. Large black letters stand out against the white paper: OPE. The apparently incomplete word is presented as a mystery, a fragment of a text that is unknown to us. This is in fact a piece of reality that has been transformed by the artist, an excerpt from a text that Arnaud shows us in a written rather than photographic form to maintain its mystery. Justifying all manner of interpretation, the letters allow us to project onto them whatever is in our heads: a truncated HOPE, an abbreviated automobile brand (OPEL), or, echoing a French architectural term (OPE), a hole in a structure meant to receive a support of some kind. It is an open object in other words.