The seventeen photographs in this show offered a morphing, moving image of subjectivity. Drawn from Mary Beth Edelson’s 1973 series “Women Rising,” they were all self-portraits of some kind or other: black-and-white pictures of the artist standing naked on a beach in North Carolina with her legs spread and her arms held up and bent at the elbow. Most incorporated the same picture, printed from the same negative, though a couple of others offered variations on the theme. But the photographs served only as the ground for figures to come: With marker and paint, Edelson went to work on them, transforming herself into a cast of fantastic charactersin one (Burning Bright), she becomes a tiger, while in another she dons the bikinied costume of TV’s Wonder Woman. The imagery moves in all directionsfrom the mythological to the mediatic, and the space where the two meetbut
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