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Marlboro Mary illustrates a moment of convergence between two experiences with donkeys used as vehicles for contraband. One experience is the result of sanitized, religious story telling, admitting the artist's lack of exposure, while the parallel is a story from her husband's life as a career smuggler. Both stories feature moments of deliberate, and discreet movement around political authority, and highlight the biases, and social realities of the story-tellers. Informed by these social, religious and cultural contexts we are presented with the Virgin Mary fleeing her home to find refuge with her unborn child and a man working to bring goods back to his home despite U.S. trade embargoes. The intensity of extremes presented in the stories are brought back to a moment of connection through the identification of a common vehicle.
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