For Kevin Rouillard, the context in which a work, and then an exhibition, is developed is never neutral. He conceived The Great Wall in Mexico, during a trip that led him to discover both the pre-Columbian sculptural imagination and the political reality of a country that shares a border with the United States. And yet, it is a landscape devoid of signs that the French artist is erecting here. Sheet metal by sheet metal, he erects a vast assembly of monochrome metal panels. Mainly sculptural, his practice is part of a process of removal and recovery. Thus, the raw material for his metal panels comes from the carcasses of burnt and unfolded cans that evoke for him the working class environment and the circulation of goods throughout the world. Eventually, the ensemble proposed at the Palais de Tokyo resonates with the Mexican geographical and social context that gave birth to the monumental project: the walls rise up in the image of the physical and mental barriers between the United States and Mexico.