Veronica Bailey

The Blue Gallery

Sometimes the most apparently straightforward view turns out to be the most oblique. Such was the case with “2 Willow Road,” Veronica Bailey’s previous show, in which she presented a series of photographs of books from the library of modernist architect Erno Goldfinger that showed only the unopened volumes’ edges. Projecting an absolute blankness, Bailey’s crisp and detailed images, which lent the books an uncanny presence, conjured an occult form of reading, a sort of fingertip divination. Of course this reading, like any other, requires a title as its starting point, and Bailey provided the books’ titles (and authors) in her own. She communicated the sensation of somehow being able to see more deeply into Amédée Ozenfant’s Mémoires (1968) or Anita Loos’s A Girl Like I (1966) than might have been possible by perusing them in the ordinary way and of seeing, as well, into the mind of

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