Presented across two spaces at Jean Kenta Gauthier, Mondays Are Fridays brings together oil and acrylic paintings, works on paper, photography, instant film, and sculpture by Coco Capitán, moving between these forms as part of a single working method rather than treating them as separate bodies of work. Since 2022 that method has extended to worn boat sails, cut and reworked into paintings and chosen for the marks already on them. The Lacrimosa takes this further into three dimensions: a model boat, its sail carrying the same handling as her painted sails elsewhere in the show. The recurring figure of the "lost sailor" carries across these works and into Naïvy in 50 Photographs, Capitán's long-running series on a nautical, dreamlike world, shown here alongside instant-film Polaroids annotated in her handwriting.

At JKG Odéon, that same continuity between personal and commissioned work takes a different form. A self-published newspaper, The Present Morning Times, announces the artist's own death, and is paired with the painting beside it, in which a female body in a bath reads that same newspaper. Nearby, A School Day Afternoon depicts the artist's sister, hung alongside a set of photographs of actress Cate Blanchett taken on assignment — a set whose setting closely resembles the one in the painting, and which later folded back into Capitán's own work. Across all of it, her handwriting persists as a constant, applied with the same attention to sails, paintings, notebooks, hotel stationery, and scraps of paper alike, turning notes and asides into a kind of running text for the exhibition as a whole.