IVRY-SUR-SEINE.- Mathieu Mercier’s work is an indecisive crossing of the avant-gardes’ project, which attributes a practical value to the artistic object, with the Duchampian gesture that imparts a symbolic value to the object that normally serves a useful function. Mercier’s output constantly redefines the production modes of objects and their passage into the field of art. The project championed by modernity (De Stijl, Bauhaus) involved linking industrial mass production with the artist’s creativity and making design an integral part of everyday objects. Meanwhile, a century ago, Marcel Duchamp did the opposite, taking an object produced by industry and making it an integral part of art, notably with his Bicycle Wheel (1913), considered the first readymade. One of Mercier’s favorite subjects is the particular relationship to objects that modernity introduced and how it is carried