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Josephine Baker is here cladded in a shimmering veil.

Tom Holert: A key point in both Second Skin: Josephine Baker & the Modern Surface (2011) and its accompanying essay “Shine: On Race, Glamour, and the Modern” of the same year is what you have poignantly and paradoxically called the “disappearance into appearance,” referencing the particular “shimmering, excessively ornamentalized performance” of Anna May Wong in the 1929 movie Piccadilly.

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