In Dick Goody's article titled "The Roving Eye: Aura and the Contemporary Portrait" he states, "From our various perspectives, when we look at a portrait we are naturally wary of falsity or the staged guise." Goody describes the search for truth in portraiture quite clearly as we, the viewer, try to pick out the falsity in a [sitter's] face. I agreed for the most part with this statement, but after viewing the exhibition I found a few that stuck out to me that made me think twice. Woman gliding southeast at 70 mph on Highway 101 sometime in March 1990 (Listening to the Silence), 1992-1993/2008, Andrew Bush, photograph. ----- A dozen useless actions for grieving blondes #1, 2009, Rosemary Laing, digital photograph. These two pieces in particular seemed to defy the notion that Goody was trying to convey. In the first one listed, a candid photo of a woman driving in the 90's is an easy example of true unawareness. The woman looks to have no idea she is being photographed and her expression feels real and uncaring of who's looking in on her. The second portrait listed is more staged, but could also be considered within the realist spectrum. The pure disheartened and woeful gaze the sitter gives the viewer feels more powerful than a "staged guise". Although one is candid, while the other staged, I feel that Goody can't lump all portraiture into false truths. I've found, in these two portraits, that truth can be revealed and real emotion has been captured.