I thought of the Stenmarks. I hadn’t forgotten the twins. This was their idea of postmortem décor and it occurred to me that there was a prediction implied in this exhibit. Human bodies, saturated with advanced preservatives, serving as mainstays in the art markets of the future. Stunted monoliths of once-living flesh placed in the showrooms of auction houses or set in the windows of an elite antiquarian shop along the stylish stretch of Madison Avenue. Or a headless man and woman occupying a corner of a grand suite in the London penthouse owned by a Russian oligarch.
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