By Luciano Migliaccio
Inside Tower work belongs to a phase starting in 1985, during which the artist experimented in the fields of sculptures and site-specific installations breaking with the traditional confines of the work of art. Raynaud believes that one of the dominant traits in 20th-century art is the progressive emphasis on aspects of the work previously regarded as having a merely technical or utilitarian role, such as support and packaging, that now became significant. While remarking on the role of packaging and the mobility of artists and artworks within the market circuit, Raynaud mentioned Watteau’s Enseigne de Gersaint, depicting the shop of an 18th-century art dealer where for the first time there is an indication of a public from whom art is, first and foremost, a commodity. In exhibitions with suggestive titles such as Journal de Voyage, La Sculpture en transit, organized in the 1980s, Raynaud developed the concept of an in situ/déménageable sculpture, i.e., a work to be shown in a specific geographical historical or functional site such as a museum or art gallery, at the same time that it renders its own transient constitution.

— Luciano Migliaccio, 1998

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