Designed by Béna as part of a film project entitled “Das Reisebüro”, sculptures shown here are additions to her series of mysterious elements —finger balls, foot-and-elbow-rests— created to ease a waiting process. These two brass shapes wearing a pixelated glass mask seem to guard the entrance to another world, as in a children’s tale. A far cry from Roger Tallon’s anthropomorphic valet stands (1966), these sculptures are positional objects to which our bodies must be submitted both physically and morally —the masks’ patterns blur individual features— if we are to see through them. This is the price to pay for the tyranny of transparency.