Two screens face each other in a dark room, only a bench off to the side interrupting the space between them. Settling into this interstitial expanse of Shirin Neshat’s Soliloquy (1999), viewers become mediators, with the series of scenes on each screen flowing not past, but through this audience – asking them, perhaps, to act as witnesses to the ensuing visual dialogue. The titles begin, in English and Persian; then,... see more