"I'm the thing!", cried flamboyantly the heroine of a classical play by Ostrovsky; and her cry unintendedly repeated in the 20th century feminist lamentations. In the long run the routine struggle of feminism against 'objectivation' of woman's consciousness and body - which results in the 'woman as a consumer product' phenomenon, - might fail. And first of all because of 'the traditionalist woman' rather than 'the consumer man'. Since the invention of photography traditional spheres of the 'product' consumption, like family or professional prostitution, were added with the new one that exploited only the ladies exterior, that is the field of soft'n'hard porno. This genre has developed its own rhetoric of gestures and postures, replacing real satisfaction with the 'signs of pleasure'. Obviously these were the first signs to become advertising warfare in a battle for consumerist ecstasy. The number of volunteers who propose themselves - in halves or in whole - as a self-sufficient product won't ever cease, despite notorious persistency of women rights activists. Illustrated magazines, advertising billboards, night-clubs offering striptease with consummation, all they definitely demonstrate the 'thing' that might be spoken of like, say, electric gadgets or diary products. 'Legs' ('breast', 'thighs' etc.) vary in size, length, width, weight and so on. At first sight the 'Xposition' project by Tanya Lieberman may seem as an attempt to classify the aforementioned set of gestures and postures, selecting them with chronological and typological approach.

Xposition as

• exposure in photography (i.e. the time of looking at)
• Xgeneration (kinda new look?)
• positions in the past and the present (typology, classification)...

It's not by chance that Lieberman avoids making a picture of the photographic image, instead pasting it onto objects like a 'piece of film', a folding screen or whatever - sorry, we're out of wallpaper supply. The author is definitely interested not in the plot or a classical feminist analysis, but rather in the pictorial motif itself that may be fashioned into an intricately refined pattern. And don't mind if it's composed of women bodies.