Latifa Echakhch reprised her 2007 work À chaque stencil une revolution (For each stencil a revolution) for the Hammer Museum's lobby wall in 2013. After attaching hundreds of sheets of carbon paper to the wall, Echakhch treated the surface with a solvent that caused the ink to run down the pages and pool on the floor. Her use of carbon paper points to an outmoded duplication technology that was central to the ability of political groups of earlier generations—such as the civil rights and anti--Vietnam War protests of the 1960s—to disseminate information. Referring as well to both abstract expressionism and the signature blue of Yves Klein, the work asks us to reconsider the relationship of abstract art to politics.