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Feminist scholars or artists see the world through the gender lens, which mastered the act of looking at men's pervasive presence. I encountered its limits while gazing at a figure in the 19th century Burmese parabaik or folded paintings. In these paintings, which depict royal court performances, a figure emerges–a full-bodied man without a face. The painter granted him a faceless face and a gaze to follow. I embarked on a conversation with this faceless man by using the haptic eyes or thatdoi:10.21659/cjad.31.v3n103 fatcat:xd6isz7pvzckza3kcv7ztpxkx4