Four replicas of stills from the documentary "Interview Sessions with Francis Gray: On Encoding, Storage, and Retrieval"

As its enigmatic title suggests, this drawing addresses technologies of reproduction. Its look is distinctly cinematic, with a nod to film noir, while its disjointed subject matter points to surrealist films of the 1920s. In the top frame, a gloved woman who appears to emerge from, rather than to sit at, a table, gazes forlornly at a hand reaching out from the back of a small canvas. Beneath her, a scenic road ends as abruptly as the diagonal slice that cuts through the composition. By relying on the technical precision of photorealism, Sendor, who delights in creating complex narrative worlds, conjures the strangeness of a dream.