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housing, they recall theinhabitants of domestic

settings in pichlres byDiane Arbus, Bill Brandt,

Bill Owens, and, especially,\Valker Evans, whose

images of sharecroppers intheir shacks feature similarlymeagre belongings and wallspapered with newspapers,magazine pages, and flyers.Some of Mthethwa's sittersare uncomfortable with

his camera-one pregnantwoman looks especiallywary-but most arewelcoming, leaving us fi'ee

to PlY into their bedroom

or inventory the contentsof their kitchen cupboard.Even when the occupantsare absent, as in a series of

poignantly empty beds,the care that informs each

decorative detail suggests

a quiet, tenacious presence.But it's Mthcthwa's

presence, implicit yet keenlyfelt, that turns what could

have been dry ethnographicdocuments into images nlllof warmth and wit.

-VinceAletti

CI\ITIC'S NOTEBOOK.ON THE INSIDE

\Ve don't know much about

the subjects ofZwelethu

Mthethwa's big calorphotographs at the StudioMuseum except that theyare South Mrican migrantworkers living outsideJohannesburg. Posedinformally in temporal}'