THE CENTRE RECENTLY HELD AN YVES KLEIN EXHIBITION AND A ROBERT RAUSCHENBERG “COMBINE” SHOW, BUT THOSE ARE HISTORICAL RETROSPECTIVES. WHAT DO YOU SEE AS THE CURRENT DIRECTION OF ART MAKING?

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Klein is one of the most important figures in art in the second half of the 20th century. He reinvented the definition of art ... I don’t see any comparable artist to Klein. Today, it’s diversity. There are a number of different attitudes. Nothing is predominant and all supports are possible, but not one more than another. Each artist is making his or her own story.

IN JANUARY 2006, THE PERFORMANCE ARTIST PIERRE PINONCELLI TOOK A HAMMER TO DUCHAMP’S “URINAL” CREATING AN UPROAR. HOW IS THE CENTRE POMPIDOU DEALING WITH SECURITY ISSUES?

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Security has always been a serious question, but you can’t completely prevent against vandalism unless you put all works of art in a bank-type showcase. There’s always a risk people will damage works of art. But a very small percentage of the population—one in 1 million—comes to the museum with strange ideas.

ART THEFT APPEARS TO BE ON THE RISE AS WELL, OR AT THE VERY LEAST MORE AND MORE IN THE NEWS.

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Some years ago a Picasso disappeared from our storage vaults [“Nature morte à la Charlotte,” a 1924 cubist painting valued at $3.2 million]. Everyone thought it was a disaster. But the painting was found [a guard had passed it to his marijuana dealer], and a great celebration ensued. Our building has a high level of technological security, a very precise system.

DO YOU MAKE STUDIO VISITS?

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Of course, but never enough. The curators of the museum do it as part of their activities.