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Zoe Crosher with Leslie Grant, Cindy Shermanesque (But She’s the Real Thing) (detail), 2005, 12 light-jet prints mounted on Plexiglas, dimensions variable.

Zoe Crosher

Charlie James Gallery

Zoe Crosher with Leslie Grant, Cindy Shermanesque (But She’s the Real Thing) (detail), 2005, 12 light-jet prints mounted on Plexiglas, dimensions variable.

The suggestive title of Zoe Crosher’s recent exhibition, “For UR Eyes Only—the Unveiling of Michelle duBois,” might have been lifted from a mass-market paperback at the airport bookstore. Appropriately enough, a flight attendant is what duBois (one among a handful of aliases used by the stated subject of this show) aspired to be. Through the evidence on display here—costume changes, pseudonyms, mysterious sugar daddies—in a variety of photographic formats, we also learn that she freelanced turning tricks. And though plenty about this character remains unknown, there is little question her most devoted relationship was to the camera.

DuBois, in all these guises, occupies the frame throughout Crosher’s project, which began materializing in 2004 after the artist allegedly received an archival trove of her subject’s snapshots from the 1970s and ’80s. The ensuing

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