“By documenting reality, the snapshot undermines what it shows. Huey’s work speeds up what could be called photography’s natural process. His world is beguilingly, heartbreakingly, unmistakably unreal. In ‘Aunt Dorothy’ (no. 1), Huey’s great-aunt has paused in front of an idyllic, mid-twentieth-century house, which suggests a stage set, or perhaps a trompe l’oeil house. Dorothy herself is clutching a purse that suggests a lapdog, or a file. She is wearing a fashionable hat that suggests a religious order, or even a punishment, a gay shackle. Her look is both blank and knowing. What does she think of the world around her? Is she a pious believer? A sly heretic? A doll? A sorceress? She inspires a reciprocal fantasy, a duplicity: we dream with her, in our own time.” – J.S. Marcus

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