In its afterlife, an exhibition assumes different shapes. Once a show has come to an end—its artworks assessed, wrapped, and shipped, walls repainted, and artists, curators, and assistants moved on to a new project—what remains is a complex patchwork of individual and collective memories, embodied by a single object, a display, or an atmosphere. In its afterlife, an exhibition acquires a mythical dimension, and is capable of generating an imaginary that others can adapt, transform, and expand. Ben Russell’s “La Montagne Invisible,” on view at Paris’s Le Plateau, will leave its viewers with the long-lasting impression of an atemporal, non-Euclidean journey shaped by subtle but fantastic events. With no obvious beginning or end, this exhibition-made trip unfolds in a cavernous environment and is punctuated by arcane light symbols that shine in the dark. The show, one instalment in a multi-part project that Russell is developing (the first of which, “LA MONTAÑA INVISIBLE,” was made in collaboration with composer Nicolas Becker and presented at MUCA UNAM in Mexico City in September 2019), pays tribute to René Daumal’s novel Le Mont Analogue, which describes an expedition to the summit of an invisible mountain, the tallest on earth, which can only be reached by …