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New York: Oxford University Press; 2010. Is the Subject Area "China" applicable to this article. Is the Subject Area "Metaanalysis" applicable to this article. Is the Subject Area "Respiratory infections" applicable to this article. Is the Subject Area "Database searching" applicable to this article. Is the Subject Area "Coronaviruses" applicable to this article. Is the Subject Area "Epidemiological methods and statistics" applicable to this article.

Is the Subject Area "Japan" applicable to this article. Paul Pfeiffer, Four Horsemen of the Apocalypse (07), 2002. Courtesy of the artist and Paula Cooper Gallery, New York. Blackness fills in space between matter, between object and subject, between bodies, between looking and being looked upon. It fills in the void and is the void. Up on a stage, his glistening muscular form jitters and folds under the juddering blows of this invisible adversary. He stumbles and rolls around a boxing ring, the rippled surface of his flesh made over into a telemetry of signs.

Why do I watch him. Who does he face. How can he escape an enemy whose presence is no longer susceptible to proof, but whose actions are inscribed in his black flesh at high definition and rendered in slow motion, as the blows rain in, over and over and over again.

The video is a looped reel of edited digital footage from a boxing fight. Entitled Caryatid (Broner) (2020), it is part of a longer series the artist Paul Pfeiffer has been making since 2015. In each video, the opponent of a boxer named parenthetically in the title has been patiently erased from every frame of the footage.

The erasures transform him from protagonist into recipient; they mold him into a continually recursive before-and-after-image of an incident whose occurrence we can confirm, but whose provenance we cannot identify.

Where these have historically been embedded in customized television sets staged like buoys on the sparse floors of galleries, the full series is now viewable as options in a dropdown menu on a website: the videos become fragmentary media objects appropriated from the web and now returned to it, spectrally, proleptically, in the midst of a general flood of digital images of antiblack violence. The project crystallized over the volatile summer of 2020 in which state acts of antiblack violence, and mobilizations against the same, reached a mass scale, both within the United States and globally.

The acronym for the exhibition (FTP) proliferated across the surfaces of urban and exurban space over the course of that long summer, its repetition unchained by the burning of the Third Precinct of the Minneapolis Police Department on the third night of the George Floyd rebellion.