At the entrance of Azabudai Hills Gallery, visitors are currently greeted by a giant black-and-white photo of the sculptor Alexander Calder in his New York studio, next to two of his most famous artworks: “White Panel” and “Devil Fish,” which was at the time under construction.

Calder stares directly at the lens, his gaze almost burrowing into the viewer from beyond. A Francophile American, he was born in 1898 to artist parents — his father a sculptor and his mother a portrait painter — and passed away in 1976 at the age of 78. Posthumous exhibits are, in a sense, always problematic since the chief celebrant is absent throughout the entire planning process.

But upon entering the 700-square-meter display area of the exhibition “Calder: Un effet du japonais” — where one is faced with Calder’s abstract dragon-like standing mobile “Fafnir” (1968) — it indeed seems as though the late, and inarguably most famous, sculptor of kinetic art has had some say in how this salute to himself has been shaped.