Marlene Dumas's exhibition at the Museum of Modern Art, New York, reveals a complicated economy of seeing as her paintings and drawings reject any easy recognition or simplification of aesthetic, cultural, or political meanings. The multiple series of faces rendered in eerie washes of watercolor and oil seem to suspend representation, projecting a discomforting knowledge of subjectivity as an always tense agitated terrain within which the viewer must stand complicit in relational contestation.