Cabine téléphonique bloquée (ca. 1978–1979) is a montage of two superposed black-and-white photos. The first, of a phone booth taken by the artist in Old Montreal, is cut away so that the second, of a pile of stones, shows through, completely filling the space of the booth. The procedure is similar in Maison aux ouvertures bloquées as well as in the artist’ many works from the 1970s that depict high walls, barricaded doors and obstructed windows. One might suppose that, some years after the manifesto Refus Global and in the midst of a court case over the censorship of the exhibition Corridart, the question these projects raised is that of communication between a society and its artists, that is, the question of the openness that appeals for the recognition of new works.