Dennis Adams’s Malraux’s Shoes (2012) and Alejandro Cesarco’s If In Time (2012) reveal a willing vulnerability on the part of the artist that is rare outside a more confessional, feminist practice. So encased are men in silence, self-assurance, purpose, and disinterest that opacity seems almost a birthright and issues belong to the one who questions. All the more interesting then when a character replete with the angst of aging, drink, power, and the flagrant display of ingenuity lets slip a small punctum of love’s memory. [Read More…]