This essay tells the story of the performer Josephine Baker and the architect Adolf Loos as a way to track an unexpectedly intimate dialogue between the making of the so-called "denuded modern surface" and the spectacle of black skin at the turn of the twentieth century. This connection in turn compels a reconsideration of the way we read (as) modern subjects.
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Anne Anlin Cheng; Skins, Tattoos, and Susceptibility. Representations 1 November 2009; 108 (1): 98–119. doi: https://doi.org/10.1525/rep.2009.108.1.98
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