Escobar, pictured in New York City in 1968, stands next to a seven-foot-tall bronze work titled Father Damien. Although largely forgotten in recent decades, artist Marisol Escobar’s public persona and creative output made a serious splash in the New York art world in the 1960s. Operating on her own terms in a male-dominated scene, the French sculptor was “known for blithely shattering boundaries, ” as her obituary in The New York Times declared earlier this year. For one, Escobar maintained privacy in an age when the public thirsted for celebrity. She was described as “Garboesque” for her discretion: that is to say, on par with the famously reclusive habits of the Swedish-born actress. Escobar confounded others with her often-silent presence, but ultimately her shape-shifting This story is from Kinfolk Issue Twenty-Three Buy Now Related Stories Arts & Culture Issue 19 Going Incognito We all secretly wonder what mischief we’d make if invisible: When our identity is hidden, everything seems possible. Arts & Culture Issue 19 The Best Policy Sometimes we talk to each other without feeling heard. Honesty—a most intimate interaction—can be just as thrilling as its more devious inverse. Arts & Culture Issue 19 A Sense of Suspense With unhinged imaginations and mountains of cliff-hangers, the filmmakers behind the sci-fi podcast Limetown have all the makings of a scary story. Arts & Culture Issue 19 Like Clockwork In this new column about time, we learn how slipping off our watches makes us feel like deadline-damning renegades. Arts & Culture Music Issue 19 On a Grander Scale Malaysian singer-songwriter Yuna now may live on the opposite side of the globe, but she’s determined to evolve while staying true to her roots. Arts & Culture Issue 19 Neighborhood: Fire Stations The firefighting profession has evolved over time from Ancient Rome’s rudimentary bucket brigades to today’s sleek life-saving departments.