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Dean Sameshima has spent thirty years documenting the vestiges of queer spaces. His recent series, being alone (2022), pictured anonymous subjects in porn theaters facing screens of ethereal light. In his latest body of work, The Intervals (2026), Sameshima reproduces his entry tickets into those same theaters over a decade-long period. Like On Kawara’s Date Paintings , Sameshima’s works keep time, but only register the time spent after hours.
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