Double: the title of Xie Lei's exhibition at the Musée Denys-Puech is rich in its polysemy. 'Double' as in the mirror-like effect found on the threshold of a painted world, in which each viewer may immerse themselves and identify with the anonymous, androgynous figures. 'Double' in the way the canvasses, which precisely fit their allocated spaces, ricochet from one wall to another, echoing the museum's collection and its architecture. And finally, 'double' through the polar opposition of the states that the paintings represent without ever clarifying them: between wakefulness and loss of consciousness, floating or falling or a moan of pleasure and a final mortal breath. Ultimately, one question remains to haunt us: on which side of the reflection do we find ourselves?