Fresnel works are based on a research made upon the optical properties that can be achieved by folding a two dimensional plane into a three-dimensional structure, thus acquiring a double-faced feature (Leporello). These folded planes, when observed from different points of view, allow visualizing different images in relationships of continuous transformation. This device manages to create an interactive relationship between work and spectator, since the latter can compose and decompose the image at will through its own displacement in space, breaking the static frontality characteristic of the “pictorial format”, in a reversible process at will. In this way, contemplation becomes a spatiotemporal action, it becomes an event, altering the order of past-present-future relationships, and offering a new possibility to reorganize our linear perception of time and space. Consequently, the viewer’s point of view always implies a certain transformation of the contemplated image. From a more philosophical perspective, these works underline a constitutive fact of Modernity: the emergence of the Subject as articulator of the visual experience in interpretive terms. That is why the works emphasize their condition of being “open systems” allowing multiple readings, depending on both the physical point of view of the observer and his/her own interpretative subjectivity.