He stands there, barely,
a kind of slow moving
piece of performance art,
just a bit off-stage,
the apparently fabulous shapes
recently described in the New York Times,
though he is, indeed, dressed for the part.
His hands, lightly clenched behind his back,
hold no brushes, no paint, no cloth.
His eyes, unsure of much
here in this large white room
glance off into somebody else’s distance
while the rest of him,
curious for the moment,
wonders if the tuna fish sandwich
his wife packed for lunch
will be enough today.
Now he is leaning up against the wall,
now is he not,
now he is not leaning up against the wall,
now he is.