Departing from previous painting-dense retrospectives of Chicago-based artist Lee Godie’s work, Intuit’s recent exhibition—though it did include several strong canvases—focused instead on some fifty of the several hundred self-portraits that Godie took in public photo booths during the 1970s and ’80s. Godie, who was homeless and sold her work directly on the streets, brilliantly mobilized the city’s photo booths as artist’s studio. These public interiors functioned as sites via which she staged multiple forms of belonging—to her home city and equally to multiple movements within