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Hemali Bhuta, Image A, 2015, aluminum, waterproof solder, and pencil on paper, 16 1/4 × 22 1/4". From “Diary Entries.”

“Diary Entries”

Gallery Espace

Hemali Bhuta, Image A, 2015, aluminum, waterproof solder, and pencil on paper, 16 1/4 × 22 1/4". From “Diary Entries.”

From Virginia Woolf to Anne Frank, Sophia Tolstoy to Anaïs Nin, in the twentieth century the diary was established as a woman’s respite: a blank receptacle of expression, bound by no manner of speech or society, only by its own spine. Later, it became an unbiased, uncensored literary source of cultural and historical experience. Intensely intimate, the diary was an unmediated object that freed the writer to be as furtive or frivolous as she pleased. Beginning from this premise, curator Gayatri Sinha invited five artists to consider the turmoil and tranquility of their lives in a variety of mediums. The resulting “Diary Entries” were painstaking and private, but so discreet that the viewer never felt like a voyeur; instead, the show stimulated a desire to head home and pen an entry of one’s own.

While some of the works may be read as self-contained “pages,” others are chapters, with

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