Sylvie Fleury uses Carl Andre's floor-based sculptures as runways. Women parade across them in high heels, engaging in a play of dominance. In this work, Fleury takes on the masculinism of Minimalism, an art movement that emerged in the late 50s and early 60s in which industrial materials, serial geometric forms and the artwork's literal presence in space were privileged, mobilizing the seductive, feminized superficiality of fashion and advertising.