Sichel explores the intertwined lives of critics Gene Swenson and Jill Johnston, two figures who chronicled the early days of, respectively, Pop art and Judson dance. Both were writers that refuted a distinctly modernist authoritative voice, merging personal experience with political idealism, confessional immediacy with performative incoherence.

There is much about Cahun’s life—their gender-nonconforming presentation, their sustained work (with Marcel Moore) of anti-fascist resistance in Nazi-occupied France—that will feel familiar today. It’s another striking moment of doubling, perhaps, an uncanny (and possibly affirming) look in the mirror as history repeats itself.

Structured like an alphabet primer, this book reflects on the artist’s father’s dementia diagnosis and subsequent vocabulary loss in tandem with her own efforts to learn a new language. From their different perspectives, the book follows both father and daughter as they struggle with the shapes of what they cannot say—and through Duzant’s juxtaposition of research and photographic work, this missing language doesn’t feel like an absence or loss of meaning.

This book showcases the artist’s playfully queer approach to language and decades-long commitment to Toronto’s artist-run scenes. He is known throughout Toronto both for his creative practice and for his significant and undeterred sociality.