“The word, ‘bohemian,’ I think this was coined for that man,” Jean Paul Sartre was reported to have said moments after what would turn out to be his first and last meeting with the man who would turn out to be Olivier Levrais.

And then, on November 28, 2011, thirty years to the day after he was last seen walking in Montparnasse, he returned to the world, and not the Paris part of the world, mais non, he descended upon the Miami part part of the world! Though it has been perceptibly noted by my collogues that those two worlds have coalesced quite a bit during his three decades of absence, the Art Basel Miami Beach of 2011, to me, still seems to almost perfectly encapsulate all that this storied man had detested so dearly in his former life — from the dealers he’d mocked as “écume de la peinture,” to the collectors he’d called, “or de la merde” and, of course, all the “bouseux exubérant.”

As Donatella Andante has reminded us in her latest essay in Art Forum, we may never know. But my most recent scholarship supports the notion that it is at very least well worth asking the question of whether, with this landing, and its Tumblr-ed trace, Olivier Levrais may have enacted the greatest art project of all — a continuation of his lifelong quest for the ultimate medium, cut with a distinctive epistemological break — the very lens of the digital age.