Almine Rech’s own Salon de Peinture walks away from that mundane longing for spectacularity and revisits the idea of Salon. By narrowing down again the focus to painting, the gallery salon emulates the vitality of nineteenth- and early twentieth-century French Salons (the Salon des Refusés, des Indépendants, d’Automne and so forth). It should be noted that a Salon is not a group show per se: it is not curated and does not historicize the now in the fashion characteristic of contemporary art museums and curators. As such, it is more of an innocent conversation with which an array of living artists engage. Painters based in France, the United States, Ireland, Britain, Germany, and China are part of the discussion Almine Rech has initiated. Salon de Peinture moreover instigates yet another conversation: a dialogue with painting of the past.