For fotry-eight hours, Indian artist Nikhil Chopra "assumed an identity close to that of his grandfather," and plucked out his eyebrows. In the portrait of the artist he gave for Vogues Hommes in their Bienaalle preview he had quite a lot of hair. Whether or not he's accessing esoteric biographical narratives or religious cult behavior, the installation was intensely absorbing.

The Chopra installation. Charcoal landscapes behind the photographer were similarly effective.

Sara Ramo's "Hansel and Gretel house consisted of two rooms—one that would photographed well (illustrated here) and another that did not. It took off in the places between fact and fairy tale: This one is a elicate take on an otherwise Gondry-esque situation. The other room had candy glued to the wall, and smelled suspiciously of licorice (or the candy of your preference).

Artist and choreographer William Forsythe's "The Fact of Matter/Chorographic Object" imagined a new relational aesthetics, where visitors cling on to suspended rings, do pull ups, and smash into one another.

Artists Josephine Meckseper and Richard Phillips enjoyed this vision.

A bog is not easy to photograph, or enjoy really. Quite the point made by Lara Favaretto's environmental installation. Although it does

The placard, which is the standard placard used at the Biennale and which corresponded to an empty albeit picturesque courtyard, explained that this was the fifth time in two decades that Dominique Gonzalez-Foerster was showing at the Biennale. Frustration seems to be a theme.