Two answers to that question play out across Markosian’s recent monographs, Santa Barbara (2020), and her latest, Father. The first is drenched in fantasy, like heavy reverb on a guitar: the photographer hired actors and a screenwriter to reenact Svetlana’s memories as if they were on Santa Barbara, a soap opera she was obsessed with. In Father, we see a drier truth and evidence of what it took to keep the fantasy going. Markosian reproduces a family photograph with the father’s figure cut out and correspondence documenting his futile search for the children {read}