Departing from previous painting-dense retrospectives of Chicago-based artist Lee Godie’s work, Intuit’s recent exhibitionthough it did include several strong canvasesfocused 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 belongingto her home city and equally to multiple movements within art history. Although this show, organized by Karen Patterson under the aegis of the John Michael Kohler Arts Center in Wisconsin, didn’t put Godie’s work directly in conversation with that of such iconic self-portraitists as Cindy Sherman or Jack Smith, it effectively highlighted Godie’s
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