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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

issue 23 front cover

This story is from Kinfolk Issue Twenty-Three

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