From early photographs set in his bedroom to long-term bodies of work grounded in the photographer’s studio, American artist Paul Mpagi Sepuya’s practice is oriented around photographic portraiture’s relationship and dynamics, its settings, and materials. The camera and artist are not always visible but always implied, referring back to the self-reflexivity inherent in Sepuya’s practice and the positions and gestures of looking, being seen, and creating scenes that disregard the viewer and emphasize the making, and makers, of a picture.