One unusually warm January afternoon, I arrived in Cauterets, a small spa town in the Pyrenees, in southwest France, to meet the Russian artist Andrei

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One unusually warm January afternoon, I arrived in Cauterets, a small spa town in the Pyrenees, in southwest France, to meet the Russian artist Andrei Molodkin. There was a scattering of fromagerie stalls in the streets. Low-slung cable cars ferried skiers to the mountaintop, casting moving shadows over the families wandering through the town. Walking among them, I wondered what they’d think if they knew what Molodkin was doing up the hill.

A few years ago, Molodkin bought a large nineteenth-century sanatorium, a stately, symmetrical, magnolia-yellow building with tiled floors and a gabled roof with a wrought-iron frame. On the day of my visit, Molodkin, who is fifty-seven, was wearing utilitarian black trousers, black work boots, and a black insulated jacket as he ushered me into the sanatorium’s spacious entrance hall. At one end of it was a freestanding, thirty-two-ton Swiss bank safe, about thirteen by nine feet, which Molodkin had imported from Amsterdam. It had been brought into the building piecemeal, via forklift, last fall; the artist, along with several men who worked in a nearby factory, guided panels of the safe inside, then bolted them together with the help of two security advisers from Berlin.

As Molodkin strained to open the heavy metal door of the safe, I counted five different locks. Inside were a handful of custom-built plywood crates, which will eventually hold a group of works donated by artists and collectors. There will be pieces by Picasso, Rembrandt, and Andy Warhol, as well as more contemporary works by artists such as Andres Serrano, Santiago Sierra, and Sarah Lucas, which Molodkin estimates at a collective value of around forty million dollars. “We have sixteen art works so far, but people keep offering to donate more,” he said, a note of satisfaction detectable in his voice. In the middle of the crates was a small pneumatic pump connecting two white barrels, one containing acid powder and the other an accelerator that could cause a chemical reaction strong enough to turn the entire contents of the safe to debris within two hours.

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