Mona continues accompanying Paul to the shop despite Camille’s frustration with Paul’s drinking. Then one day, the man who bought the figurine returns and buys the remainder of the collection. Paul is thrilled with the influx of cash.

The following Wednesday, Mona and Dadé study a Henri Fantin-Latour painting. They discuss different painting styles, techniques, and movements. Outside afterwards, the two bask in the springtime air.

Dr. Van Orst conducts Mona’s first hypnosis session. He begins by helping her conjure reassuring images to combat “any excessively negative ones” (230) which might arise during treatment. Although Camille is nervous, Mona enjoys the experience. Afterwards, she asks Camille about her grandmother.

Back at the museum, Mona and Dadé study a Rosa Bonheur work. They discuss the figures in the image, musing on the difference between humans and animals. Dadé asserts that Bonheur’s work was essential in creating more awareness surrounding animal sentience and suffering. Afterwards, Mona wonders if she’ll ever eat meat again.

At school, Mona continues struggling to relate to Lili, who has become increasingly upset since learning of her parents’ divorce and plans to move. Mona finds herself musing on life’s injustice.

Back at the museum, Mona and Dadé study James Whistler’s Portrait of the Artist’s Mother. They discuss Whistler’s “charming and whimsical” (244) style and notions of love and maternity.

Camille is surprised by Paul’s sudden change in mood and finances. When she stops into the store one day, she is horrified to learn that Paul’s windfall came from selling her late mother’s rare figurine collection. An ashamed Mona apologizes, unaware of the figurines’ origin. Camille explains that Mamie’s belongings have been in the shop basement since her death; Dadé wanted to get rid of them but Camille insisted they hold onto them.

Back at the Musée d’Orsay, Mona and Dadé study a Julia Margaret Cameron photograph of a woman from 1872. Dadé offers up a lesson on the history of photography.

Mona has another hypnotherapy session. Dr. Van Orst hopes the therapy will help Mona remember the circumstances surrounding her first TIA. During the session, Mona accesses buried memories of her grandmother, recalling Mamie giving her the seashell pendant and saying goodbye.

Mona and Dadé return to the museum, where they study Édouard Manet’s The Asparagus. They discuss the history of the still life and concepts of simplicity and brevity. Then they run into the woman in the green shawl they’d seen at the Louvre. Her name is Hélène and she is a curator at this museum. She remarks on Mona and Dadé ’s conversations about art. She then offers to show them the museum storerooms.

At school, Madame Hadji starts to display the students’ end-of-year projects. An argument breaks out between the classmates about Diego’s model. Mona defends Diego’s work despite the other students’ criticisms.

Hélène shows Mona and Dadé the showrooms, where they study Claude Monet’s Saint-Lazare Station. They discuss his use of color, the history of the Saint-Lazare station, and the inception of Impressionism.

At Paul’s shop, Mona returns to the basement, hoping to discover more of her grandmother’s collectibles. She pockets a mysterious brown envelope from the stuff. When she opens it in private, she discovers an image of her grandmother as a young woman. Confused, she “fiddl[es] with her pendant” (280).

Back at the museum, Mona and Dadé study an Edgar Degas painting. They discuss the dancing subjects’ movements and Degas’s interest in representing the oppression of adulthood on children. Dadé asserts that the painting is about dancing through life.

In the next hypnotherapy session, Dr. Van Orst invites Mona to revisit the day of her TIA six months prior. Mona drifts into a pleasant reverie, returning to memories of her grandmother.

On Wednesday, Mona notices that Dadé’s pendant is visible. He has the same one as Mona and usually wears it inside his shirt. Mona mentions her grandmother, asking to talk about her, but Dadé deflects. At the museum, they study a Paul Cézanne painting, continuing their lessons in Impressionism. Dadé suggests that the mountain in the image is a metaphor for life.

At school, Mona gives a presentation on Georges Seurat and Pointillistic technique. Madame Hadji is struck by Mona’s assertions. However, Mona feels ashamed, chastising herself for not being good enough.

Mona returns to the museum with Dadé, where they visit Edward Burne-Jones’s The Wheel of Fortune. The painting inspires a conversation about memory, melancholy, and happiness; Dadé says the experiences go hand-in-hand.

Over the following days, Mona continues meditating on the image of Colette she found, trying to retrieve her memories of her grandmother. While doing her homework, she is overcome by sadness and starts to cry. She remembers sitting on her grandmother’s lap when she was three; Mamie promised to give her the seashell pendant someday.

Mona is still melancholic on Wednesday. Dadé notices but tries to distract her with a lesson on miracles while they’re studying Vincent Van Gogh. He tells her about the artist’s mental illness and the idea of a double consciousness he conjured in his work. They discuss competing emotions and the dizzying effect of Van Gogh’s work.

Mona sits for another hypnotherapy session. Overcome by memories, she feels dizzy. She hides the truth because Camille is so happy about the doctor’s positive reports.

Mona returns to the museum, where she and Dadé study Camille Claudel’s The Age of Maturity. The sculpture inspires their conversation about love and desire.

On the playground one day, Mona notices Guillaume sitting alone reading Harry Potter and the Sorcerer’s Stone. They make eye contact and hold each other’s gaze.

Mona worries that her museum outings with Dadé will end in July, as all medical appointments pause during the summer. She fears her parents will discover the truth about the psychiatrist. At the museum that afternoon, Mona asks Dadé more about psychiatry. By way of explanation, Dadé shows her Gustav Klimt’s Kiss and talks about despair, self-destruction, the subconscious, and Sigmund Freud.

Paul finally completes his project of converting a vintage Bakelite telephone into a cellular device. Witnessing Paul’s delight, Mona muses on notions of happiness and mimes taking a sip of wine and toasting her father. An offended Paul storms out, but Camille insists Mona was only acting out her fear.

Mona and Dadé get an ice cream and return to the Musée d’Orsay to see a Vilhelm Hammershøi work. They discuss Hammershøi’s ability to find beauty in the quotidian. While staring at the work, Mona experiences another bout of blindness. Dadé comforts her, convinced she is just moved by the painting.

Back at the doctor, Camille argues that Mona doesn’t need anymore hypnotherapy because her condition is stable. Mona interrupts, insisting she wants another session. While hypnotized, Mona speaks about her three TIAs, the latter two which she has until now kept secret. Afterwards, Dr. Van Orst encourages Mona to continue seeing her psychiatrist and promises to see her again in the fall. Alone later, Dr. Van Orst pores over Mona’s case, realizing her condition is delicate.

At the museum, Mona and Dadé study Piet Mondrian’s The Scream and discuss the relationship between emotion and memory. Dadé asserts that Mondrian’s primary lesson is that transformation happens via simplification.