In Between The Folds Amir H. Fallah approaches painting as an investigative, analytical historian, though a knowingly imprecise one. The process begins with field research - Fallah enters people’s homes and assembles “evidence” of their stories and identities from among their things. He particularly gravitates toward those mundane objects that seem loaded with sentimental meaning, and then arranges these selected objects around his subjects in order to photograph them. It is clear from the outset that Fallah will be the final arbiter of how personal histories are told. He will have editorial control and will not attempt to beautify or flatter his subjects. But such freedom brings some danger, and the figures are often cloaked in patterned fabrics in order to protect his subjects from being implicated in his own interpretations. Fallah applies the same logic with the patterned vinyl wall coverings in this exhibition being taken from a photograph of his own shirt. Does the imposing of the artist’s self on to the image-making process make it egotistical? If the only insight art can really communicate is about its own limited ability to tell the truth, is it still offering something of value? If nothing more, obsessive consideration of truth’s limitations can help us understand each other, and that’s no small feat.