26 February 11
By Roni Feinstein
In the photograph titled Doll, a figure in old-fashioned dress appears to float gracefully in a dark, shadowy space. But as soon as the viewer becomes aware of the structure of María Martínez-Cañas’s “Lies” series (2005)—scenes of violent death distorted to near illegibility—the fanciful-seeming image is seen to depict a woman lying dead on a carpet.
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