same time, curator Eva Respini has remarked that in addition to the reference to Bayer, it is crucial to consider the influence of Conceptual and Performance Art in Tilt / Swing, as the work requires a physical "activation by the viewer." In her 2012-2013 exhibition at the Secession in Vienna, Deschenes staged a new series of photograms, Stereographs 1-16 (2012). In the installation, Deschenes mimicked the illusion of spatiality in the stereoscopes by converting the gallery into a camera. Deschenes moved the gallery's entrance to a previously unused exterior side door, leading the viewers through a long hallway (the viewfinder) to two adjacent rooms (the stereograph). Each room contained four Stereographs of the same size. Johanna Burton stated that the Stereographs "must be seen not only as dilating context and insisting on spatial occupation but also as moving speculatively: developing." In 2014, at the invitation of the Walker Art Center in Minneapolis, Deschenes created Gallery 7 (2014), a site-specific installation composed of three elements: eleven photographs in freestanding frames; three horizontal lines etched into the gallery walls; and the natural light from the floor-to-ceiling windows. The freestanding frames were located in the center of the space, relocating the viewing experience from the walls towards the windows. The exhibition was on view for a year, throughout which the light conditions changed and encouraged the oxidation of the light-sensitive photograms. The proportions of the photographs, furthermore, were based on those of an index card, in reference to Lucy Lippard's c. 7,500 exhibition of Conceptual art by women artists at the Walker Art Center in 1973. In 2018, Deschenes staged her Rates (Frames per Second) exhibition at Miguel Abreu Gallery. In the installation, Deschenes took the proto-cinematic experiments of Étienne-Jules Marey as the point of departure and presented two series, FPS (Frames per Second) and FPF (Frames per Feet). FPS was cut and mounted directly on vertical strips of dibond, and FPF was pressed in thin, horizontal frames. Both series progressed with the rhythm of the viewer's footsteps, akin to the body's movement being captured by the camera in time. The Brooklyn Rail described the show as centering on not "the specific atmospheric or environmental conditions that produced each print," but "how time is felt...and the specific weight that time can hold in space." Exhibitions Deschenes has exhibited extensively in the United States and abroad, including solo shows at ICA/Boston (2016), MASS MoCA