The Village Voice
Voice Choices: Luis Mallo
Review by Vince Aletti, 1998
Through shot in the New York subways in 1994 and ’95, Mallo’s “Passengers” series looks like it might have been made half a century ago, when walker Evans was mining the same rich territory. The timelessness is as deliberate as the cropping: Mallo’s seated figures are headless and cut-off at the knees, so their identity here lies mostly in their hands, which are often quite eloquent.
Clutching a Bible, some beads, a plastic bag, or a pamphlet; clasped tight, dangling loosely, or gesturing, these hands can only hint at the life they lead, but it’s one we all share.