77 FIG. 4 (right): Sculpture dedicated to Gou, by Akati Ekplékendo. Fon, Abomey, Benin. Before 1858. Hammered iron, wood. H: 178.5 cm. Musée du Quai Branly, inv# 71.1894.32.1. © Musée du Quai Branly. Photo: Hugues Dubois. FIG. 5 (below): Figurative plaque, by the Master of the Circled Cross. Edo, Nigeria. 16th century. Copper alloy. H: 39 cm. Musée du Quai Branly, inv# 70.2002.4.1. © Musée du Quai Branly. Photo: Patrick Gries. PD: Rue Marignan really was a point of departure in several respects. When we got there, we found ourselves in a place that had been relatively well preserved. It wasn’t intact, obviously, but there were still many traces of Ratton’s presence. And there happened still to be many artworks there that he had wanted to keep— some really astonishing ones, as the visitor to the exhibition will see, since it seemed vital to us to include them. The archives allowed us to reconstruct a complete chronology of exhibitions, and this part of the work was essentially done by Maureen. We also sought to retrace the histories of the works that were presented at these exhibitions. We selected a good number of them for our
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