With few significant exceptions, Bernard Faucon’s Fresson-process color photographs are reconstructions of an adolescent world in which allegory asserts itself as a natural state of being. These carefully realized moments of imagination seem to contain the secret syntax and memory of all other moments. Photographs have always served as endorsements for the truth of the past; among other problems with this sanguine notion is the fact that the terms of evidence operative in childhood differ, perhaps unresolvably, from those of the adult world. And, when art engages the distinct domain of childhood,