Early in his career, photographer Robert Giard took on an elemental aesthetic “chore”: the self-portrait. The project was an amalgam; it was the self-portrait in the sense that he was the model, and it was the nude in the sense that he was naked. But in his handling of these 2 genres, Giard broke with these categories as they are typically understood. Grouping his “self-portraits” under 3 rubrics—“candid,” “headless,” and “neoclassical”—Giard appeared to toy with standard definitions. Words and images suggest tensions held in balance: disclosure vs. concealment; confession vs. secrecy; present vs. retrospective; identification vs. obfuscation; personal vs. impersonal. Indeed, these “self-portraits,” in which the subject concealed his face, encourage us, aware that Giard was a gay man, to wonder if these pictures are not an obvious metaphor for the status of homosexuals at the period in which they were made.