Cristine Brache’s Dorothy stares at viewers from a canvas layered with the foggy sheen of encaustic above oil and ink. In fact, the myriad eyeballs across many of the works in this show are all staring in various grades of study, disdain, sadness, and tranquil repose. Such is the way of Persona, a group show which derives its name from the titular Ingmar Bergman film, and which dives deep into individual identity, authenticity, artificiality, and how one brings themself to the table of life. Of particular note are Mary Reid Kelley’s Personae and So Blonde – painterly mimicry of wall-tacked paper snippets featuring portraits, worn cardboard, and expressive eyes peering out in the gallery at passing viewers. Admire the craft of it all, Reid Kelley’s vivid illustration as well as the seemingly higgledy-piggledy objects that are tacked to the painted cardboard. Marika Thunder returns with her recognizable mechanical prose – Grace perhaps suggesting a set of metal lungs against a cool, hard esophagus polished in dark tones of silver. The human body meets the machine in the most intimate of fashions, a complex relationship Thunder has explored with eloquence. The exhibition as a whole contemplates the paradox of identity—what is constructed, what is innate, and what, if anything, can be disentangled from the layers of artifice and self-perception. Persona does not offer easy answers but rather invites viewers to sit in the ambiguity, to lock eyes with its many gazes, and to question what they see reflected back.