A recent exhibition of works by Gaëtan (1944–2019) in Lisbon, prompted Gillian Sneed to write about this collection made up of serially obsessive self-portraits. They attest to all the ways that a person can look at oneself, and range from tragic realisation of the passage of time to a sad, ironic smile at this fugue-loss. Sneed is a writer and art historian who specialises in contemporary art. She has lectured at City College New York and MoMA. In her critique, she says: ‘Though critical methodologies informed by queer theory are perhaps new in Portuguese art discourse, I would like to suggest that Gaëtan’s work provides an apt opportunity to explore this mode of visual analysis.’