In a recent paper, I attempted to demonstrate the community of thought between the propositions of Pierre Huyghe and other artists of his generation. At that time, it seemed clear that one of the most significant characteristics of his work was the development of an artistic practice that arose from the multiple possibilities inherent in an already existing text.

In the early 1990s, Huyghe began a new body of work that addressed the rhythms of the city and the particular texture that constitutes its flux and reflux. He has since continued to explore representations of time, story and work. Parcours (1992), the first project of this new period, showed the journey of a truck driving through Paris with a man walking on a running machine installed on a platform at the rear of the vehicle. The truck had transparent sides and was lit internally allowing the walking figure to be seen from the outside. Another project, Billboards (1994-95), consisted of a series of posters (4 x 3m) designed to be pasted onto advertising spaces adjacent to scenes or actions of everyday life. By reproducing a somewhat idealised view of the street scene below, the posters reflected various activities such as workers repairing a road. Similarly, the cinematographic remakes such as the famous Rear Window by Alfred Hitchcock, or Uccelacci e Uccellini by Pier Paolo Pasolini (re-shot on the same location as the original production) are further examples of the use of pre-existent texts which draw their resonance from the way cinema contributes to the definition of what belongs to the public domain.

The second characteristic of Huyghe's artistic practice develops from the first and constitutes an ambiguous