The critical force and historiographical import of Andrews’ project may be traced to Facsimile, a four-part series begun in 1990 and first exhibited in 1991. A consideration of what the title itself gives us to think affords one opening onto the complexity of this work and the challenges, even the imperatives, it continues to pose for the viewer. “Facsimile” is first of all the making (from the Latin facere) of a copy or likeness (similis), the work of imitation constitutive of portraiture. Read through Andrews’ title, the images ranged here are understood to refer themselves to models that they reproduce or represent by way of a particular medium and material: in this case, drawing on bleached beeswax tablets coated with oil and graphite. From the first, however, these portraits trouble conventional premises about the fundamentally mimetic relation of art to nature, image to model. For these “copies” are made not at one, but at several removes from their “originals,” and remarking the specificity of the resulting distances, spatial as well as temporal, is part of the project here. The “Proud Lives” to which these likenesses recall the viewer are those of men and women now dead, commemorated in a regular feature of that title in the Toronto bi-weekly Xtra!, which publishes photographs of and tributes to members of the community lately lost to HIV-related illness. Andrews’ images, then, have their antecedents in these photographs, snapshots donated by the survivors. The multiply-mediated gazes that look out from these portraits do so from a then and there that is divided from our own here and now not just by the passage of time, but more radically by death. They address the viewer from that other time and place, from a past that remains, in ways to be elaborated and analyzed, determinant for our present and our future.