In Fall 2016, The Art Gallery of York University and Scrap Metal mounted two complimentary presentations of the project: the former was intimate and archival, while the latter was restrained and bordered on the forensic. In it’s third exhibition form, Iris Häussler’s project invites audiences to edge closer to Sophie La Rosière’s work— to experience paintings, drawings and sculptures that have been dislodged from the fanciful artist’s early twentieth century studio and released more openly, but thoughtfully, into the present.