The Triptych (1987) by Luxembourg artist Antoine Laval (1954) cannot be comprehended in a single glance. Three rectangular blocks, painted differently front and back, are fixed vertically to the wall. On their outer edges, moveable “lines” are attached with magnets, one to the outer element and two to the middle one. These lines consist of part of a steel yardstick and four elements that are reminiscent of a music stand. Their position appears to be coincidental, arbitrary and abstract. To grasp the work in its entirety and to notice the subtle differences between the different points of view, the observer must move around and gaze from various angles. Laval’s enigmatic wall sculpture, which encompasses both painterly and sculptural elements, and therefore eludes clear artistic categorisation, presents a provisional, mutable series of signs in an as yet unknown code, one that requires attentive, active perception while maintaining its own mystery.