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In Periplums, Dashiell Manley revisits the WWII incarceration of Japanese Americans and his family’s history. He cuts channels through his textured Elegy paintings to trace the route from his home to Manzanar, turning abstraction into a lived map. A two-channel film reworks a 1939 propaganda cartoon into shifting color and form. Together, the works confront collective memory, inherited trauma, and the threat of history’s return.