In Paris, during the late '50s, figures like Yves Klein were elevating their will over The Object by doing things like "painting" with fire. Around that time, Christo started wrapping tables, chairs, a baby carriage, and a car, among other objects, in canvas and tying them with rope. Later, he hung curtains over storefronts to create a sense of mystery about what was behind them. These were modest self-assertions, but self-assertions nonetheless. By concealing objects and the contents of stores, Christo was conjuring away, like a wizard, the visible world. He was putting it back into his head, and maybe liberating the viewer from the tyranny of fixed appearances.