The sculptor Cesar, who designed the small sculptures that gives the winners of cinema french each year died in 1998. The foundation Cartier often paid tribute to the artist, who would be the initiative of the "creation of an exhibition free and different." For this anthology, the Foundation has asked its own achitecte, Jean Nouvel, to give some idea of the sculptor. According to Jean Nouvel, the attitude of César Baldaccini is "that of a conceptual artist." Caesar has sparked controversy, whether his sculptures were still art or just a "trick" to make a conceptual coup media. As explained by Catherine Millet, Caesar himself raised the question: "So classic [he was], also committed to the profession, [he was] caught in a problem that makes the sculpture is just the art of beautiful proportions. Also see on some "irons" in this thematic exhibition on Caesar, and many Compressions, Expansions and Human Footprints. In all three cases, it is a new process was invented Caesar, in 1960. And whenever it does not create more by hand, but conducts complex operations. In the case of cuts, this is a new tool: the Big squeeze, which is the mainstream press hydrolique used to compact cars to be scrapped and for human footprints, there is a process pantographic expansion and work on a resinous material, and for extensions, this is still the matter which is the centre, with the use of polyeruthane, plastic extremely light and malleable, which leak horizontally or vertically, according to the time that gives Caesar to dry, the movement that rings the cast, and how he polishes or varnished.  The tour begins in the room at the bottom, without natural light, where we discover some "cuts historical" Show in May 1960 and an alley-tinted old gold  sculptures, made from Fiat cars in 1998. A film shows Caesar at the age of 45 years, gruff, on his swearing in Marseilles with his accent and command of the mainstream press to compress cars. In the small room, pieces of cars are exposed, who play with their own shadows on the wall. Some corpses of cars are raw and untreated, really like skeletons. At the top in crude wooden boxes that look ready to cross the Atlantic a few "irons" are exposed. The oldest works of Caesar are already made of metal recovered, but still forged by hand, and graciously anthropomorphic. On the right, large "Human Traces" are mostly thumbs enlarged by the artist, who like Julius Caesar history, wanted to be able to decide life or death of gladiators in a gesture of the hand of the woman's breasts, a fist-wide, and a hand. The color of the resin spend bright red translucent and the young seem to extend fingerprints everywhere on pedestals of various shapes and sizes. On the other hand, "Extensions" flow on white pedestals and barely visible at ground level, soft chairs in bright colours, more or less bright as varnishes and degrees where they were polished. Outside, in the pleasant garden of the foundation, a few sculptures are displayed, and dialogue through the glass wall with sculptures presented inside the museum. Starting from newspapers obsolete, the reconstitution of the ephemeral works created by Caesar for Basle in 1998: "A month reading Basel" is a game impressive on the archaeology of our immediate past in what he increasingly fragile Its waste.