Through the figure of Josephine Baker, Second Skin tells the story of an unexpected yet enduring intimacy between the invention of a.
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Casting doubt on the seemingly self-evident difference signaled by skin color, Cheng argues that the baring of skin for which Baker was famous was less an unveiling than an act of concealment, one that invited and created a scene of identification for her European audience. It is no surprise that in her excavation of the role that the nonwhite, nonmale body plays in modernist narrative, Cheng begins at the beginning of that story: Emptied of their meaning by Western science, the tribal objects in the ethnographic museum serve as the signal event in the Modernist melancholy for the naked and the exposed—a nostalgia that finds expression in painting and architectural designs that emphasize the surface as covering and prosthetic body which is also always in tension with what is being housed.
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