Paul Reubens is one of the most brilliant comedic talents of our era. His character, Pee-wee Herman, a maniacal man child with a famous red bowtie, hypernasality, and a predilection for mischief, is a Saturday morning cartoon come to life. Invented on the stage of The Groundlings, Pee-wee Herman is equally iconic and archetypal as Charlie Chaplin’s Tramp. Socially defective with the decency to wear a suit, both characters are rife with hilarious contradictions, and both characters are perfect representations of their respective zeitgeists. Whereas the Tramp was a silent and prophetic emblem of the forthcoming economic devastation of two global wars, Pee-wee may as well have been a louder-than-bombs manifestation of the late-capitalistic dreamscape of the 1980s. Pee-wee’s Big Adventure (Tim Burton’s directorial debut) and later Pee-wee’s Playhouse, which aired on CBS and saw an average of ten million viewers per episode, was a fantasy of talking furniture in a supersaturated world that harkened back to 1950s diners and primetime dance competitions, a satirization of Post-War Americana as a frenzied pastiche. This pastiche was a siren call for rising artist and photographer Nadia Lee Cohen, who also trades in the currency of alter egos and the milieu of consumerist reverie through the lens of humor. Raised in the English countryside, a self-professed wild child, the technicolor stagecraft of Hollywood had an irresistible allure. Her solo exhibition at Jeffrey Deitch Gallery, which was an unabashed sensation, included two large bodies of work from two sold out monographs published by IDEA Books. Women includes over 100 portraits of a diverse cast of female characters fictionalized by Cohen, at work and at play, all under the banner of Los Angeles’ disparate socio-economic milieu. Reminiscent of movie stills, the images are freeze frames in moments of action, repose, or seductive enchantment. In her most recent series,  HELLO, My Name Is, Nadia utilizes extensive prosthetics and makeup to embody a vast array of characters inspired by found corporate name tags—each character has an invented story, thoughts, dreams, and desires. It is a Hitchcockian character study of self-portraiture. Jean Baudrillard talked about this escape from the self in an age of simulation and hyperreality: "Never to be oneself, but never to be alienated: to enter from the outside into the form of the other." Both Paul Reubens and Nadia Lee Cohen take immense pleasure in this metamorphosis. Currently in production is a two-part HBO documentary on the life of Paul Reubens, directed by Matt Wolf (Spaceship Earth) and produced by the Safdie Brothers. In a time of shapeshifting realities and alternative facts, a time when we don’t even recognize the reflection in our mirrors, what can two masters of disguise teach us about who we really are? Read more.