Françoise Sullivan performed a number of artistic walks in the 1970s, exploring symbolic spaces closely connected to her troubled awareness of the fate of art, constantly threatened by radical currents that blur its boundaries. Her first such walk, Promenade entre le Musée d’art contemporain et le Musée des beaux-arts de Montréal (1970), covered the distance from one museum to the other and back. She photographed every intersection along the way but refrained from making any aesthetic decisions, preferring spontaneous images instead. The idea underlying the project was that not only the cultural objects assembled by these institutions but also everything in between them is a part of cultural memory. The fact that the material components of the work were acquired by the Montreal Museum of Fine Arts was crucial: for Sullivan, art is always alive. What art explores remains relevant, and museums have begun to recognize that visual documentation, traces and fragments are a means of validating the status of an art form, particularly actions and performances.