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Tue Greenfort

LATE AT NIGHT, in an industrial wasteland on the edge of town, a camera is rigged with a trip wire attached to a sausage. Unsuspecting foxes, lured to the site by the smell of the tasty wurst, snag the bait and trigger the camera. The creatures, caught in the camera’s flash, look a little surprised in the resulting photographs. But clearly the foxes are not to be underestimated, as by the end of a week they have learned to take the sausage without being caught on film.

A group of eight images titled Daimlerstraße 38, these autoportraits were instigated in 2001 by Danish artist Tue Greenfort while he was still a student of Thomas Bayrle at the Städelschule in Frankfurt. Such a work could easily become a little cute—art involving animals does seem to invite that kind of reading—but it is also based on a beautiful conceit that invokes a whole history of photographic portraiture. The trip wire

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