Irene Caesar, engrossed in her process, seems entirely oblivious to my discomfort, even when, quietly, I give verbal indications thereof. Crouching, kneeling, sometimes squatting on a soft-sided suitcase of mine, she appears to have entered a trance state in which she channels the spirit of David Hemmings in Michelangelo Antonioni’s 1966 film Blow-Up. Squirming around to adjust her vantage point, she calls out, repeatedly, “Give it to me! Give to to me! Show me your eroticism!” […]
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