Her self-portraits expand upon this central theme while adding a new layer of complexity to the work. There are photographs here of fierce presence: Muholi’s headdress enormous, her stare a command in Bester II, Paris, France (2014); or caked in soot, goggles blackened, eyes, miraculously, alight, as in Thulani II (Parktown) (2015). But these works have also allowed her to focus elsewhere, and the camera bears witness to astounding feats of intimacy. In Hlengiwe (Paris) (2014) she rests in profile, her look inward, her turbaned head like a bloom about to open. In the exquisite Thembitshe (Parktown) (2014), Muholi, who has processed some of these photographs to heighten their contrast, leans into the shadow and appears to brighten. These images, of the artist in contemplation, are like silhouettes coming into clarity.