This summer, the Venet Foundation is devoting its summer exhibition to an emblematic work, "Voice 1974", by Robert Morris, one of the greatest artists of the post-war period, particularly in terms of his ability to question the principles and conventions of art. In 1974, he simultaneously presented Labyrinths - Voice - Blind Time at the Leo Castelli and Ileana Sonnabend dealers, as a proposal that went beyond the visual question of works of art once and for all, through his Foucauldian labyrinths, which underlined the notion of imprisonment of society; the foundation presented a quasi-custodial example in its park, and the drawings made in the "blind time" series. With "Voice", he develops a purely sound device articulated in four parts broadcasting in turn or simultaneously the entire Guinness Book of Records, a testimony on a painful scar or readings of texts by psychiatrists who pioneered the definition of schizophrenia and bipolarity. In the same way that artistic genres have been abolished by modern art, the question of gender is blurred by the interchanging of the pronouns "he" and "she", "he" and "she", maintaining a confusion of genres. The sound resonates with the space, drawing the ear and therefore the attention to this or that transmitter block. Echoing the many works by Robert Morris in the Foundation's collection, this exhibition recalls the importance of the American artist's gesture from the early 1960s onwards and his decisive role as a major theorist within the effervescent New York art scene.