Before being an artistic or mechanical design tool, the hand is the dna of a person. We can guess Jean Cocteau's hands in his metonymic portrait of Berenice Abbott where they are placed on his hat in Berenice Abbott's house. Or Jean-Philippe Charbonnier's hands that replace the cogs of a typewriter. In the surrealist manner, the hand appears as a mirage, sometimes dressed in a glove. It is totally dematerialized and becomes the symbol of a free psyche. Also perhaps by the simple fact of its duality? A coexistence that can be found everywhere in man, starting with his very essence: the soul and the body. The hand is also the motif par excellence of the snapshot in photography. It is with the hand that we capture a lively gesture that is barely visible on a photo, for example, and yet gives meaning to the scene captured. Whatever its significance, this exhibition presents the hand as an essential photographic object through some fifty prints, dating from 1925 to 2018 and by 27 different artists.