First impressions matter, so it made sense that Parreno was tapped to work on the lobby of the revamped MoMA this year. There he installed a marquee in which rows of lightbulbs glow from a triangular frame. On venturing further into the New York museum, the Frenchman’s typically disconcerting installation continues with approximately 120 moving lamps. Parreno has long been interested in questions of interaction, and another gig this year was at Espace Louis Vuitton in Venice: a show that featured a computer programme which activated, in sequence, a marquee, a mechanical mirrored shutter and phosphorescent wallpaper. The marquee is a sculptural form he’s returned to since 2006, inspired by the luminous signs that welcomed punters to American cinemas in the 1950s. So it should be no surprise that Parreno’s second feature film, titled No More Reality Whatsoever, which premiered at the Rotterdam Film Festival in February, was described by its maker as a ‘film of films, a seance of cinema’.