Cosey Fanni Tutti’s exhibition at Cabinet Gallery is divided into two parts, a photographic exhibition and a film, which together invite the visitor to negotiate not only questions of morality but also archival memento mori. Upon entering the upper gallery, the viewer confronts frames from Cosey’s 1977 photographic collaborations with the American photographer Joseph Szabo, selected from his archive by the artist and retitled Szabo Sessions (2017). Their collaboration plays upon the blurred boundaries between commerce and art, which the artist has confronted through the interposition of her own body in the course of a career stretching back almost half a century. Szabo’s photographs raise again the uncomfortable questions that Cosey has posed about women artists’ agency to perform and spectacularize their own bodies and their own desire, particularly when that agency touches upon female power as a form of monetary exchange. But Cosey exceeds the neat lineage which a feminist discourse might trace from Hanne Wilke’s S.O.S Starification Object Series photographs (1974-82) or Carolee Schneemann’s Interior Scroll (1975) to the riot grrrl abandonments of Pipilotti Rist or Tracey Emin’s confessional video Why I Never Became A Dancer (1995). Those works signal a critical deployment of the body within the context …