Ayesha's POVI met Ken Adler on a Wednesday afternoon in February, which was not a significant Wednesday in any other respect. The gallery had a small mid-week showing of three new artists I was trialing, modest work displayed modestly, the kind of afternoon event that brought in a slow, interested trickle rather than a crowd.He came in near the end of the afternoon, when most of the other visitors had gone, and stood in front of the work of an artist named Joe, a young man who painted domestic interiors with a particular attention to the quality of empty rooms and the specific melancholy of spaces that were recently left.I was near the desk, updating attendance notes, and I watched the new visitor from the corner of my attention the way I always watched people in the gallery, not to assess them but because how people stood in front of art told you things about them that conversation didn't always reach.He stood in front of Joe's largest piece for a long time. He was medium height,
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