Photographs of men Goodman knows become the source material for a series of new Eyelash Drawings. Individual false lashes curl across the pages of the six nude portraits she has created, mimicking body hair in a way that is both delightful in its delicate replication of this ostensibly masculine trademark, and mildly revulsive in its pseudo-abjection. These new Eyelash Drawings are sensitive and painstaking renditions of a practice that reverses one of art’s history’s most long-standing power structures: the male gaze. They carry with them the history of the reclining nude, the still life, and the woman as object, directly opposing the male gaze by replacing that object with the male body.