Following the financial crisis of 2008, Rose Marcus began photographing vacated retail spaces. The storefront glass and the disused spaces behind them presented abstractions in dust and debris, layered with reflections of New York city streets and pedestrians. Amongst the rushing figures the silhouette of a woman, camera in hand, is a recurring motif. Her reflection is bisected by the momentary frame of the reflective surface, or the more enduring frame of the composed image. She's stopped, taking the picture she's in.
In March the frame has tightened. Everything above the waist is excluded. The lower extremities remain. In groups or in isolation, aggressive cropping intensifies the appearance of social performance playing out on what remains visible of the figures. Now on the inside, they're stationary, scrutinized, and anonymous. Printed at street advertising scale and adhered to the walls of the gallery, the images are presented at the threshold of an event, and that which resides outside of it.