Moyra Davey’s work over the past decades across photography, video, and writing has exerted a quiet yet indelible influence upon contemporary artmaking. Bucking fashionable trends, she points to disparate literary and artistic sources in order to weave connections between her own life and wider intellectual trajectories. This mode of sustained citation allows Davey to incorporate other voices into an individual story. Her distinct practice of mailing photographs transforms the artworks from objects of display to something akin to gifts—photo-conceptual aerograms sent to a person or organization, with colored tape and postal markings as traces of a connection despite distance. Although her films since the 2000s take Davey’s own narration and staccato voice as a starting point, they move beyond autofiction into a more slippery, confounding, and compelling register. Through extreme detail, her works perform a kind of complex subjectivity, unmooring illusions of neutrality and critical remove. To quote poet and performer Kae Tempest: “James Joyce once told me: ‘In the particular is contained the universal.’”