In this gallery, the thin, red, vinyl line continues along the perimeter. A neat row of six, medium-size, colorless self-portraits hang on adjacent walls, three on one wall and three on the other. Each portrait consists of graphite on paper, and was drawn on a different day in October of 1996—the year that a new lifesaving HIV medication became available. They are all self-portraits of the artist, who stares directly ahead, holding the gaze of the viewer. He made them while looking in a mirror.

Moving along the wall from left to right, the first portrait depicts the artist, a white Jewish man, wearing a shirt with a casually lax collar, his head turned slightly to his right, showing only his left ear. He has short parted hair that’s cut close on the sides, the graphite darker around his ear to indicate an undercut. His thick brows slant toward each other, as if in frustration or concentration. The bridge of his nose is vertical and narrow with a bulging tip, almost like a deflated balloon. One nostril flares. His lips are tight. Across his collar and neck the artist has written the date: 10-2-96.

The next portrait on this wall depicts the artist's head and neck as one, singular, rectangle-like shape protruding from his t-shirt collar. His head is turned to his left, in semi-profile, showing only his right ear. He has short, parted, combed-down hair filled in all over. Like the first portrait, his heavy brows lean toward each other, but only slightly. Wrinkle lines frame his eyes, mouth, and detail his neck. Sparse lines also indicate a sharp jaw. His lips are pursed, shorter in length than in the first portrait, his eyes closer together, his pupils big and dark. The date 10-4-96 is written across his chest.

In the next portrait the artist looks straight-on, his head tilted upward, his brows arched and raised as if surprised, his lips parted so that his top teeth peek out. His hair is short and messy, his nose upturned, showing his dark nostrils. Brief lines frame his eyes and chin, and his cheeks are smooth and blank. No shirt or top is depicted. The date 10-5-96 is written across his neck.

On the adjacent wall, the first portrait finds the artist again in semi-profile, his head turned to his left, revealing only his right ear. He leans his head slightly downward with his pupils raised, looking in front of himself. His hair is short and casually messy, and one long strand falls between his eyes. His brows are heavy. His nose is flattened, so that the curved wrinkle lines above his mouth seem to ripple from his nostrils. A trio of wrinkle lines stack on his forehead, and more wrinkle lines emphasize his eye sockets. His philtrum, the groove between his nose and upper lip, is pronounced with a single gesture. His lips are tight. Across the collar of his t-shirt, the artist has written the date 10-6-96.

In the second portrait on this wall, the artist looks squarely at you with a blank expression. His short hair is swept back, and his jaw is handsomely defined, almost geometric and nearly in line with the width of his wide, nacked neck. His brows are heavy, angled toward each other slightly, and hook at his temples. The vertical bridge of his nose concludes with round nostrils and, below them, a small oval-shaped gesture defines his philtrum. Soft, sparse lines detail his forehead and cheekbones, and shading across the lower half of his face suggests a five o’clock shadow and pronounced chin. The date 10-9-96 is written across his neck.