The representation of artists’ workspaces is a separate photographic genre. This is what we see in the first section of Parages (2002), a photographic installation by Alain Paiement in which the successive floors of the building where he lives are spread out in a linear fashion. For the first image, subtitled Partir d’où j’habite, Paiement systematically photographed his apartment, along with its street and backyard, in bird’s-eye overhead shots, which he then assembled in a monumental photomontage. The indoor space appears to be played out on a dual stage, where, thanks to the simultaneous representation of different times, private and professional lives coexist. We observe the living space of the artist, necessary to the private unfolding of daily activities, and at the same time, we see places that are reserved for work. Although it does not explicitly display a relationship with artistic production, Paiement’s large montage stands in for this relationship by offering us, through a self-referential process, a synthesis of the work’s different stages: conception, production, and dissemination. We see the principal protagonists—the artist, the digital imaging technician concentrating on his computer, the curator meeting with the artist’s assistant—all simultaneously involved in diverse activities. This is perhaps an illustration of how artists generally work: surrounded by assistants, professionals, colleagues, and friends, all contributing to the realization of a project. Nevertheless, this kind of business is different from many other businesses, as we can see from the view of the bakery on the floor below Paiement’s apartment, where people are busy making the day’s bread.