In the middle of Paris at the Place de la Concorde entrance to the Jardins des Tuileries, where iron gates open on to a wide courtyard that leads to a fountain, an enormous Richard Serra sculpture resides: two gigantic rusted steel arcs set side by side, curving away from each other like querulous lovers.

Centered in the space, they form an alley that telescopes the vista from the Louvre to the Arc de Triomphe almost perfectly – “almost” because, like Serra’s famous Tilted Arc, the segments of this work (called Clara Clara, after the artist’s wife) list ever-so-slightly to the side, skewing the view so it doesn’t feel quite right.