How do the interplay of surface and depth in sequential art—the static image whose depths are revealed or implied in juxtaposition, sequencing, and textual accompaniment—render a theory of the body, and of the relationship between the body’s inside and outside? How does the human body in graphic narratives function as a site for boundary-crossings between insides and outsides of all kinds—not just skin and viscera, but publics and privates, revelations and secrets, the presented and the withheld?
