Epstein Secrets

thanks.) But the double-concave lines of shin & aleph, in a sense the "most important" letters, are beautiful insofar as they're female. (And as the Zohar says [admittedly in aramaic], man--genuine man--exists only at the moment of sexual union, male+female; so man isn't so much a creature as an event

ou don't miss a tick.... Does it bother you that sexuality, once the driving force of art, has been suppressed? Modigliani the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in their

thanks.) But the double-concave lines of shin & aleph, in a sense the "most important" letters, are beautiful insofar as they're female. (And as the Zohar says [admittedly in aramaic], man--genuine man--exists only at the moment of sexual union, male+female; so man isn't so much a creature as an event

ou don't miss a tick.... Does it bother you that sexuality, once the driving force of art, has been suppressed? Modigliani the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in their

thanks.) But the double-concave lines of shin & aleph, in a sense the "most important" letters, are beautiful insofar as they're female. (And as the Zohar says [admittedly in aramaic], man--genuine man--exists only at the moment of sexual union, male+female; so man isn't so much a creature as an event

tick.... Does it bother you that sexuality, once the driving force of art, has been suppressed? Modigliani EFTA00743229 the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in their

thanks.) But the double-concave lines of shin & aleph, in a sense the "most important" letters, are beautiful insofar as they're female. (And as the Zohar says [admittedly in aramaic], man--genuine man--exists only at the moment of sexual union, male+female; so man isn't so much a creature as an event

u don't miss a tick.... Does it bother you that sexuality, once the driving force of art, has been suppressed? Modigliani the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in thei

thanks.) But the double-concave lines of shin & aleph, in a sense the "most important" letters, arc beautiful insofar as they're female. (And as the Zohar says [admittedly in aramaic], man--genuine man--exists only at the moment of sexual union, male+female; so man isn't so much a creature as an event

u don't miss a tick.... Does it bother you that sexuality, once the driving force of art, has been suppressed? Modigliani the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in thei

thanks.) But the double-concave lines of shin & aleph, in a sense the "most important" letters, are beautiful insofar as they're female. (And as the Zohar says [admittedly in aramaic], man--genuine man--exists only at the moment of sexual union, male+female; so man isn't so much a creature as an event

bother you that sexuality, once the driving force of art, has been suppressed? Modigliani EFTA_R1_00194685 EFTA01821460 the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in thei

hanks.) But the double-concave lines of shin & aleph, in a sense the "most important" letters, are beautiful insofar as they're female. (And as the Zohar says [admittedly in aramaic], man--genuine man--exists only at the moment of sexual union, male+female; so man isn't so much a creature as an event,

u don't miss a tick.... Does it bother you that sexuality, once the driving force of art, has been suppressed? Modigliani the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in thei

hanks.) But the double-concave lines of shin & aleph, in a sense the "most important" letters, are beautiful insofar as they're female. (And as the Zohar says [admittedly in aramaic], man--genuine man--exists only at the moment of sexual union, male+female; so man isn't so much a creature as an event,

ou don't miss a tick.... Does it bother you that sexuality, once the driving force of art, has been suppressed? Modigliani the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in thei

hanks.) But the double-concave lines of shin & aleph, in a sense the "most important" letters, are beautiful insofar as they're female. (And as the Zohar says [admittedly in aramaic], man--genuine man--exists only at the moment of sexual union, male+female; so man isn't so much a creature as an event,

ou don't miss a tick.... Does it bother you that sexuality, once the driving force of art, has been suppressed? Modigliani the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in thei

thanks.) But the double-concave lines of s=in & aleph, in a sense the "most important" letters, are bea=tiful insofar as they're female. (And as the Zohar says (admittedly=in aramaicJ, man-- genuine man--exists only at the moment of sexual union, =ale+female; so man isn't so much a creature as an event,

ou d=n't miss a tick.... Does it bother you that sexuality, once the driving force of art, has b=en suppressed? Modigliani the last erotic painter; de Kooning a farcial=encore; Giacommetti, whose early sadist surrealist pieces turn into a view=of women as immovable obstacles (men move; women stand in their