Stemming from the Women’s Liberation Movement of the 1960s and 70s, the idea that the political is personal is often bantered about. To prove it, a good majority of photography’s essential power would be left in the ether if it weren’t so. Diana Matar’s wrenching and extraordinary essay, Evidence, is a collection of photographs that scream for resolution but what remains is the search for its protagonist. Her father-in-law, Jaballa Matar, a Libyan dissident who was a former diplomat and Libyan Army officer was kidnapped – “disappeared” – by the regime of Colonel Muammar Gaddafi and never seen by his...
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