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Valentine's drawings entail expectations of legibility depictive of some tip-of-the-tongue subject within a library of means detailing the amorphous thing it circles but fails to produce. There is the lure of subject object, the thing that will at any moment manifest itself in the definitive lines of drawing schematizing, hypothesizing, its existence alongside the slide show's equal directness that again begins circling its subject over the course of its ribs. Parker is good at this, at making the object appear as though right around the corner, in the next slide, on the next page, in the next sentence.