Cindy Sherman has been acclaimed as "the girl with a hundred faces" by Sandrine Malinaud of the periodical Cimaise. Her head has been crowned in thick ringlets of hair, and presented bare as a monk's. She has worn pendulous breasts, bull's horns, a hero's hirsute chest, and long beards. Once she appeared dressed as a baby doll staring mournfully at the silent telephone; she also appeared as a capricious courtesan, a country girl bewildered by the big city, a sphinx with a riddle, a wizard, a fairy-tale monster, a cleric, a Raphael Madonna, and an Elizabethan courtier. At one moment she has portrayed a murder victim, poignantly incriminating the viewer with the murderous need to look; the next moment, Bacchus, offering us a mythic opportunity to share the intoxicating pleasures of shape-shifting, or transformation, of light, itself. However, as Andy Grundberg, noted in the New York Times, "nowhere...