We also insisted on presenting in display cases a set of press clippings, and Memorabilia items. In which a few people, according to their comments, seemed to identify relics. But which in our minds were not, because our love for Patti Smith’s art never implied that we childishly worshiped its author. A Memorabilia section presenting vinyls and tapes dating from Horses’ release and that of its successor, the Radio Ethiopia album. Press clippings that I had accumulated by raiding the Anglo-Saxon press which I steadily bought during my adolescence, and which I had preciously saved.
These testimonies were presented to the public in order to help the 2015 exhibition's audience measure Patti Smith’s first opus’ resonance, in the French and international major media of the mid-1970s.

Despite the difficult context of the November 13 attacks, more than five thousand visitors discovered horsesvisions during its two months of existence (minus several days because of attacks). These visitors often poured out on the guestbook their comments, sometimes in terms so complimentary that they moved us to the point of making us blush.

Since then, we have been filled with the memory of horsesvisions, a unique exhibition totally off the beaten paths, which certainly inflicted on us all the stress in the world, but which also gave us all the joys that only such an exceptional adventure can bring about.

As far as I am concerned, that of having managed in such a short time to materialize on large canvases the daydreams that I had kept buried in me for forty years, since the release of Patti Smith's masterpiece. That is, these paintings that Birdland, Free Money, Kimberly and Elegie had spawned.

If only because of Birdland, horsesvisions will forever remain in my heart and my mind as something that was worth being conducted -and of which I am proud.