Sleight of Hand asks, how does one deceive. The eye, after all, is but a spectacle. It is not merely a tool for seeing, but is itself an object of the gaze. Its janus-faced; its duality is evident, most of all, through the moment of the stage, that is founded on anti-truth. A reflection on that moment—fabrication, mimicry, recreation, rendition—yiels a new space. This space is tied to spectacles from the inception of the photographic medium and the moving image, from Muybridge‏'s man on a horse to the first system of on-camera special effects by Méliès. Through these hybridizations, Simhayof Shahaf examines the photographic act and the sacrifices demanded by the production of images, between corporeal determinations and surrenders to and of technology.