Armleder has worked with mirror surfaces since the 1980s, when his engagement with Fluxus and the legacy of Groupe Ecart led him toward materials and strategies that rejected the autonomy of the art object. The mirror is not a neutral support. It incorporates whatever surrounds it - the room, the light, whoever happens to be standing there - into the work itself. The object on the wall keeps changing because the world keeps changing around it.

In the 1998 works, a smiley face - screen-printed in black over silver mirror - places itself between the viewer and their own reflection: instantly readable, essentially empty, a sign that has burned through meaning by sheer repetition. A companion work from the same year carries no motif at all. Stripped of any printed layer, it is perhaps the purest statement in the group - the ultra-light mirror surface turning the space around it into the work itself, with nothing to mediate or deflect. The 2015 Mind Breath series, first shown at MASSIMODECARLO in Milan, adds complexity without certainty - a starburst on gold-toned mirror, somewhere between solar motif, retinal afterimage and decorative revival, that warms and distorts rather than clarifies.

Daily - as in every day, as in the quality of light this morning versus yesterday - feels exactly right: works made for living with, for when something shifts, and the room rearranges itself around them.