Table of Con­tents | Arti­cle doi: 10.17742/IMAGE.IN.11.2.4 | PDF


Anato­my Table/Vaccination Pic­ture Caulfield et al

Discussing The Anatomy Table and The Vaccination Picture

Sean Caulfield, Tim­o­thy Caulfield, and Johan Holst

The Anato­my Table is a print-based work that the­mat­i­cal­ly address­es the loss of pub­lic trust in sci­ence, as well as mis­in­for­ma­tion sur­round­ing sci­ence-informed inter­ven­tions in health care, such as vac­ci­na­tion. Draw­ing on the his­to­ry of anatom­i­cal illus­tra­tion by ref­er­enc­ing Andrea Vesalius’s famous 16th-cen­tu­ry anatom­i­cal book, On the Fab­ric of the Human Body, the work com­bines this with con­tem­po­rary draw­ings that sug­gest anato­my but which have an imag­ined, non­sen­si­cal qual­i­ty, indi­cat­ing to view­ers that the draw­ings are not accu­rate rep­re­sen­ta­tions of human anato­my. In addi­tion to reflect­ing on this piece and the process of col­lab­o­ra­tion, Caulfield, Caulfield, and Holst dis­cuss the chal­lenge of coun­ter­ing mis­in­for­ma­tion in health­care today. The work was cre­at­ed through col­lab­o­ra­tive dia­logue between Sean Caulfield, a pro­fes­sor in the Depart­ment of Art and Design at the Uni­ver­si­ty of Alber­ta, Tim­o­thy Caulfield, Cana­da Research Chair in Health Law and Pol­i­cy at the Uni­ver­si­ty of Alber­ta, and Johan Holst, senior sci­en­tist pre­vi­ous­ly work­ing at the Nor­we­gian Insti­tute of Pub­lic Health in Oslo and from August 2016 being a vac­cine expert at the Head­quar­ter of CEPI (Coali­tion for Epi­dem­ic Pre­pared­ness Inno­va­tions), sit­u­at­ed in Oslo, Norway.

The Anato­my Table est un ouvrage imprimé qui abor­de de façon thé­ma­tique la perte de con­fi­ance du pub­lic dans la sci­ence, ain­si que la dés­in­for­ma­tion entourant les inter­ven­tions sci­en­tifiques dans les soins de san­té, comme la vac­ci­na­tion. S’appuyant sur l’histoire de l’illustration anatomique en faisant référence au célèbre livre anatomique du XVIe siè­cle d’Andrea Vesal­ius, A Pro­pos de la fab­rique du corps humain, cet ouvrage com­bine cela avec des dessins con­tem­po­rains qui sug­gèrent l’anatomie mais qui ont une qual­ité imag­i­naire et absurde, indi­quant aux lecteurs que les dessins ne sont pas des représen­ta­tions pré­cis­es de l’anatomie humaine. En plus de réfléchir à cette oeu­vre et au proces­sus de col­lab­o­ra­tion, Caulfield, Caulfield et Holst dis­cu­tent du défi de lut­ter con­tre la dés­in­for­ma­tion dans les soins de san­té aujourd’hui. Le tra­vail a été créé grâce au dia­logue col­lab­o­ratif entre Sean Caulfield, pro­fesseur au Départe­ment d’art et de design à l’Université de l’Alberta, Tim­o­thy Caulfield, tit­u­laire de la Chaire de recherche du Cana­da en droit et poli­tique de la san­té à l’Université de l’Alberta, et Johan Holst, sci­en­tifique prin­ci­pal tra­vail­lant aupar­a­vant à l’Institut norvégien de la san­té publique à Oslo et depuis août 2016, expert en vac­cins au siège du CEPI (Coali­tion for Epi­dem­ic Pre­pared­ness Inno­va­tions), situé à Oslo, en Norvège.


Fig­ure 1: Instal­la­tion view of The Anato­my Table, UNAIDS, Gene­va, Switzer­land, 2017. Pho­to by Annik Wetter.

The Anatomy Table

Over the last ten years, broth­ers Sean Caulfield (artist) and Tim­o­thy Caulfield (law pro­fes­sor) have col­lab­o­rat­ed on a num­ber of inter­dis­ci­pli­nary projects—including Imag­in­ing Sci­ence and Per­cep­tions of Promise1—that have inte­grat­ed cre­ative and aca­d­e­m­ic meth­ods in order to exam­ine eth­i­cal and philo­soph­i­cal issues in the health sci­ences. The Anato­my Table is, in part, a result of a long-term and ongo­ing dis­cus­sion between these two creative/academic researchers. At the same time, the input of a new col­lab­o­ra­tor, Johan Holst, as well as the the­mat­ic con­cerns of the larg­er <Immune Nations> project, brought a unique focus to The Anato­my Table: the work attempts to cre­ate an open space of spec­u­la­tion and con­tem­pla­tion around issues relat­ed to bio­med­i­cine, while simul­ta­ne­ous­ly tak­ing on the role of advo­ca­cy in rela­tion to vaccines.

The­mat­i­cal­ly, The Anato­my Table address­es a per­ceived loss of pub­lic trust in sci­ence, as well as mis­in­for­ma­tion sur­round­ing sci­ence-informed inter­ven­tions in health care, such as vac­ci­na­tion. The work draws on a num­ber of sources for for­mal and con­cep­tu­al moti­va­tion, includ­ing The Vac­ci­na­tion Pic­ture (dis­cussed in more detail below), as well as his­toric and con­tem­po­rary med­ical illus­tra­tions, images, and knowl­edge. One of the key ten­sions the work explores is the impor­tance of edu­cat­ing peo­ple about scientific/biomedical research in order to counter pseu­do­science and to sup­port trust in health care, while at the same time acknowl­edg­ing the fact that per­cep­tions of our bod­ies come from mul­ti­ple sources beyond sci­ence. Dif­fer­ent cul­tur­al and philo­soph­i­cal per­spec­tives need to be respect­ed in pub­lic pol­i­cy debates around health care, but gov­ern­ments and health agen­cies must also guard against the spread of mis­in­for­ma­tion in rela­tion to vital pub­lic health ini­tia­tives such as vac­ci­na­tion. This is a dif­fi­cult bal­ance to strike.

The Anato­my Table was influ­enced and pro­duced along­side an accom­pa­ny­ing project, The Vac­ci­na­tion Pic­ture, a pub­li­ca­tion by Tim­o­thy Caulfield, that was pro­duced in col­lab­o­ra­tion with a num­ber of artists and illus­tra­tors: Cindy Bak­er, Blair Bren­nan, Sean Caulfield, Dom Civiel­lo, Zachary Chomysak, Patrick Mahon, Tam­my Sal­zl, Ser­gio Ser­ra­no, and Jill Stan­ton. The book address­es a wide range of top­ics relat­ed to vac­ci­na­tion, vac­ci­na­tion hes­i­tan­cy, and rel­e­vant issues such as pub­lic trust, sci­ence spin, and the impact of pop­u­lar cul­ture on sci­ence pol­i­cy. The visu­al artists work­ing on this project respond­ed to these top­ics through a wide range of approach­es, from “tra­di­tion­al” illus­tra­tion to more eso­teric poet­ic draw­ing, in order to increase dia­logue around the com­plex issues relat­ed to vac­cines. As the text and images for this pub­li­ca­tion unfold­ed, work on The Anato­my Table drew on this mate­r­i­al for both for­mal and con­cep­tu­al motivation.

Pro­duc­tion of The Anato­my Table began by first scan­ning and dig­i­tal­ly manip­u­lat­ing repro­duc­tions from Andrea Vesalius’s famous 16th-cen­tu­ry anatom­i­cal book On the Fab­ric of the Human Body. This ref­er­ence is intend­ed to point view­ers to the com­plex­i­ties that emerged as West­ern med­i­cine met oth­er cul­tur­al tra­di­tions with­in the dif­fi­cult his­to­ry of colo­nial­ism. Along­side this his­toric mate­r­i­al, The Anato­my Table also ref­er­ences con­tem­po­rary med­ical images and research pro­vid­ed by Johan Holst, includ­ing illus­tra­tions of virus­es, as well as research mate­r­i­al on vac­ci­na­tion. This blend­ing of his­toric and con­tem­po­rary ref­er­ences, as well as the mix­ing of empir­i­cal­ly accu­rate and imag­ined bod­i­ly imagery, address­es the com­plex­i­ties and ten­sions sur­round­ing empirical/scientific rep­re­sen­ta­tions, and more emo­tion­al and cul­tur­al­ly charged expres­sions of the body.

In the final pre­sen­ta­tion of The Anato­my Table two visu­al lan­guages, one ref­er­enc­ing the his­to­ry of med­ical sci­ence, and one that is delib­er­ate­ly non­sen­si­cal, are lay­ered on top of one anoth­er in a series of twelve 61 x 91 cm dig­i­tal and silkscreen prints on dig­i­tal paper and trans­par­ent draft­ing film. This series of prints is pre­sent­ed on the wall in a grid around a life-sized image on Plex­i­glas and draft­ing film of the entire human body. The over­lay of print­ed images on the cen­tral fig­ure is com­posed of the small­er images from the sur­round­ing grid, sug­gest­ing that the grid is a kind of index or map to under­stand the larg­er body. This dia­logue under­scores the way sci­ence iso­lates (dis­sects) our bod­ies in order to study and test our com­plex physiology—a method of inquiry that pro­duces unique insight and knowl­edge, but which also may lim­it more inter­con­nect­ed perspectives.

Fig­ures 2 and 3: Sean Caulfield, details of The Anato­my Table, silkscreen and inkjet on draft­ing film, and Pho­to Tex, each 91 x 61 cm, 2017. Images cour­tesy of the artist.

Caulfield, Caulfield, and Holst in Conversation

Tim­o­thy Caulfield: We have had an ongo­ing col­lab­o­ra­tion over the last ten years. Are there key issues from our dis­cus­sions that influ­enced The Anato­my Table?

Sean Caulfield: Absolute­ly. For me your work into the rise of pseu­do-sci­ence with­in health care sys­tems has been a major influ­ence for this work, and in par­tic­u­lar the grow­ing ten­den­cy for non-sci­ence-based “cures” to adopt the lan­guage of sci­ence as a means of pro­mot­ing and legit­imiz­ing alter­na­tive treat­ments. As you know, this is very rel­e­vant in the realm of vac­cines, as the pub­lic has been exposed to con­sid­er­able mis­in­for­ma­tion about vac­ci­na­tion, con­fus­ing and com­pli­cat­ing dis­course around this impor­tant pub­lic health issue. For exam­ple, the claim by Wake­field that vac­cines cause autism still per­sists despite all of the qual­i­ty research that has proven this to be com­plete­ly false.2 Addi­tion­al mis­in­for­ma­tion, such as the idea that children’s immune sys­tem can be over­whelmed by the cur­rent vac­cine sched­ule, also con­tin­ues to cir­cu­late despite exten­sive evi­dence indi­cat­ing that this is also false.3

T. Caulfield: Yes, the social con­fu­sion issue is impor­tant. The noise around vac­cine safe­ty and effi­ca­cy has been loud and rep­re­sen­ta­tions too often wrong. We also know that once peo­ple have formed opin­ions it can be extreme­ly dif­fi­cult to change their minds. This project pro­vid­ed an oppor­tu­ni­ty to both explore the sources of the noise and to use a unique engage­ment strategy—fine arts—to pro­voke discussion.

Johan Holst: To me The Anato­my Table—and sim­i­lar projects and approach­es to communication—represent a way of express­ing the com­plex­i­ty of vac­cines and vac­ci­na­tion. In addi­tion, the mul­ti­dis­ci­pli­nary set­ting offers a dif­fer­ent entrance to sci­en­tif­ic knowl­edge and cre­ates an open­ing for new ways of inform­ing a defined tar­get group. It chal­lenges the clas­si­cal pro and con­tra dis­cus­sions between anti-vac­cine activists and vac­cine providers and oth­er forces pos­i­tive to vac­cines. This, “third, sup­ple­men­tal way” might very like­ly con­tribute to increased and bet­ter under­stand­ing between var­i­ous groups and pri­mar­i­ly to reflec­tion between the var­i­ous actors.

S. Caulfield: On a relat­ed note, when I began work­ing on The Anato­my Table I inten­tion­al­ly made use of an icon­ic image from the his­to­ry of Euro­pean med­i­cine in order to exam­ine the ways West­ern health sci­ences relate to oth­er his­tor­i­cal, cul­tur­al, med­ical, and reli­gious tra­di­tions. I know this is a com­pli­cat­ed rela­tion­ship giv­en the dif­fi­cult and prob­lem­at­ic his­to­ry of colo­nial­ism that is inter­wo­ven with the intro­duc­tion of Euro­pean med­ical prac­tices to non-West­ern cul­tures, as well as the need to be respect­ful of diverse reli­gious and cul­tur­al prac­tices. I did not want to present a sin­gle view­point or answer to this high­ly com­plex set of ten­sions, but to point to the need to have ongo­ing dia­logue about this dif­fi­cult and mul­ti­fac­eted issue.

T. Caulfield: Pro­vid­ing dif­fer­ent per­spec­tives is impor­tant, but, at the same time, some ideas around vac­cines are sim­ply wrong. There is no link between vac­ci­na­tion and autism. The vac­ci­na­tion sched­ule does not over­load the immune sys­tem. Pro­vid­ing an alter­nate per­spec­tive on these sci­en­tif­i­cal­ly sound con­clu­sions does not help the debate. On the con­trary, it cre­ates the illu­sion that there are two—equally compelling—perspectives that need to be con­sid­ered and weighed. This is wrong. That said, we do want to explore these dif­fer­ent per­spec­tives. What is at their root? How can we explore them in a respect­ful man­ner that does not legit­imize their core mes­sage? I am hope­ful that the use of com­plex imagery is a strat­e­gy that can work. Indeed, there is some evi­dence that using dif­fer­ent com­mu­ni­ca­tion strategies—such as pic­tures and narratives—can have a con­struc­tive impact on the inten­tion to vac­ci­nate. In some ways, this col­lab­o­ra­tive project builds on that strategy.

Holst: I sup­port every­thing that is being said here. But I want to under­score that I imme­di­ate­ly liked the impres­sion of sub­til­i­ty and ambi­gu­i­ty I got when I first start­ed to know the <Immune Nations> project. Not pre­tend­ing to cap­ture the “true and only image of nature,” the project is root­ed in evi­dence, but, impor­tant­ly, leaves space for reflec­tion, imag­i­na­tion, knowl­edge, and insights to emerge through expe­ri­enc­ing the works gath­ered togeth­er for exhibition.

S. Caulfield: A long­stand­ing inter­est in my stu­dio prac­tice is to cre­ate work that fluc­tu­ates between a spec­trum of emo­tion­al respons­es for view­ers, includ­ing on the one hand hav­ing an absurd or whim­si­cal qual­i­ty, and on the oth­er hand con­vey­ing a sense of anx­i­ety and dread. This con­tin­u­um is intend­ed to par­al­lel the polar­ized dis­course around bio­med­i­cine in pop­u­lar cul­ture and media, which can often present com­plex issues in sim­plis­tic terms. By delib­er­ate­ly lay­er­ing and inter­weav­ing a range of visu­al lan­guages, I hope that The Anato­my Table might sug­gest com­plex­i­ty and the need for nuanced debate. At the same time, I also rec­og­nize the impor­tance of clear and con­cise mes­sag­ing when con­vey­ing health care pol­i­cy to the pub­lic, par­tic­u­lar­ly around vac­cines. With this in mind, I found it use­ful to work on two inter­re­lat­ed projects as a means of nav­i­gat­ing this ten­sion: The Anato­my Table explor­ing open, poet­ic lan­guage; and The Vac­ci­na­tion Pic­ture uti­liz­ing more con­cise, tar­get­ed messages.

T. Caulfield: Agreed. There is a fas­ci­nat­ing ten­sion between lis­ten­ing to the var­i­ous con­cerns and being clear and con­cise about the evi­dence sur­round­ing vac­cines. But we also know—and there is a good deal of research on this—that sim­ply pro­vid­ing more “facts” rarely has the desired impact. On the con­trary, there is some evi­dence that the “more facts” strat­e­gy can back­fire, caus­ing peo­ple to become more entrenched in their views. The Vac­ci­na­tion Pic­ture tries to strike a bal­ance between being firm about the facts, while still not mak­ing “facts” the over­whelm­ing mes­sage. We explore sources of con­spir­a­cy the­o­ries and their impact on pub­lic opin­ion. We out­line the fac­tors that erode pub­lic trust, such as con­cern about the involve­ment of indus­try. We map the influ­ence of pop­u­lar cul­ture, social media, and celebri­ties. And we end with an explo­ration of pos­si­ble ways forward.

S. Caulfield: I have been very for­tu­nate to work on a num­ber of col­lab­o­ra­tive, inter­dis­ci­pli­nary ini­tia­tives that have explored the inter­face of art and biomedicine—many with you! Dur­ing this time, I have tried to take on dif­fer­ent approach­es to col­lab­o­ra­tion that have includ­ed, on one side of the spec­trum, work­ing direct­ly with oth­er artist/academic(s) to pro­duce cre­ative work, and on the oth­er side of the spec­trum, draw­ing on inter­dis­ci­pli­nary expe­ri­ence and knowl­edge in con­cen­trat­ed work­shop envi­ron­ments as a means of enrich­ing a more iso­lat­ed stu­dio prac­tice. For <Immune Nations>, I chose to work in the sec­ond method, part­ly for prac­ti­cal rea­sons relat­ing to the long-dis­tance exchange that took place between inter­na­tion­al par­tic­i­pants, but also because this approach allows me to main­tain a cre­ative thread in the stu­dio between projects, while simul­ta­ne­ous­ly remain­ing open to ideas and moti­va­tions from dif­fer­ent dis­ci­pli­nary per­spec­tives. The dan­ger in this approach, how­ev­er, is that I may not ful­ly respect or uti­lize the con­cerns of col­lab­o­ra­tors. Do either of you have any thoughts on our process of col­lab­o­ra­tion for <Immune Nations> or The Vac­ci­na­tion Pic­ture book project?

T. Caulfield: I have also been involved in sev­er­al col­lab­o­ra­tions with artists. All have been tremen­dous­ly enjoy­able and pro­duc­tive. And each ini­tia­tive has been unique. As com­pared to Per­cep­tions of Promise, The Vac­ci­na­tion Pic­ture involved less back-and-forth about the sci­ence and the social con­tro­ver­sies. Because this is such a high-pro­file top­ic, I got the sense that every­one was on the same page. All of the artists seemed to have a clear idea what they want­ed to tack­le, and it fit incred­i­bly well with the text I was pro­duc­ing. Some of the work—like that done by Blair Brennan’s explo­ration of con­spir­a­cy the­o­ries and pop­u­lar culture—caused me to dig deep­er into par­tic­u­lar top­ics. Oth­ers, like Jill Stanton’s graph­ic images, seemed to per­fect­ly com­ple­ment the mes­sages I hope to con­vey and inspired me to use a dif­fer­ent nar­ra­tive approach. These col­lab­o­ra­tions are fan­tas­ti­cal­ly reward­ing. They caused me to re-exam­ine what I want­ed to say and how I planned to say it.

Holst: I also have expe­ri­ence with col­lab­o­ra­tive projects, direct­ly inter­act­ing with sta­tis­ti­cians, epi­demi­ol­o­gists, etc., but not with artists in such a way as the <Immune Nations> project has offered and demand­ed. Thus, this has been a new and chal­leng­ing, but very reward­ing, expe­ri­ence to me.

S. Caulfield: One of the most chal­leng­ing aspects of the <Immune Nations> project for me was the fact that the final exhi­bi­tion took place in an uncon­ven­tion­al space—the mas­sive and gor­geous lob­by of the UNAIDS build­ing. Exhibit­ing in the UNAIDS build­ing was a unique oppor­tu­ni­ty that enabled unprece­dent­ed engage­ment with high-lev­el pub­lic health pol­i­cy experts from around the world—guests of hon­our at the open­ing includ­ed First Lady of Namib­ia Mon­i­ca Gein­gos, Anu­rad­ha Gup­ta, deputy CEO of Gavi, the Vac­cine Alliance; and then Cana­di­an Min­is­ter of Health Jane Philpott. At the same time, work­ing in this kind of space pre­sent­ed many chal­lenges relat­ed to the archi­tec­ture of the space. To my mind, the final exhi­bi­tion achieved the right bal­ance of acti­vat­ing the space so that view­ers were encour­aged to inter­act with art, but in a man­ner that was not com­plete­ly over­whelm­ing. These were par­tic­u­lar chal­lenges relat­ed to stu­dio and cura­to­r­i­al prac­tice; how­ev­er, they also stand more broad­ly as an anal­o­gy for inter­dis­ci­pli­nary projects that must respect­ful­ly engage a wide spec­trum of stake­hold­ers from dif­fer­ent dis­ci­plines and com­mu­ni­ties. Col­lab­o­ra­tive and inter­dis­ci­pli­nary ini­tia­tives require a lot of cre­ative ener­gy from every­one to ensure they result in suc­cess­ful or mean­ing­ful out­puts (of course, they are also very reward­ing in terms of stim­u­lat­ing cre­ative think­ing and inno­va­tion). To my mind, it is also impor­tant to iden­ti­fy when tran­si­tion­ing out of a project in order to engage in new ideas is need­ed to car­ry cre­ative or aca­d­e­m­ic work for­ward. This ten­sion under­scores the impor­tance of hav­ing a wide range of pro­grams with­in research insti­tu­tions and fund­ing agen­cies in order to sup­port work that includes both large, ongo­ing inter­dis­ci­pli­nary ini­tia­tives, and small­er, sin­gle researcher initiatives.

Holst: Agreed. As vac­cine sci­en­tists, we must make our expla­na­tions in under­stand­able ways and argue in a trust­wor­thy man­ner. The whole jour­ney of <Immune Nations> has increased my aware­ness of the impor­tance of pub­lic com­mu­ni­ca­tion about vac­ci­na­tion, and the role that art can play. I very much hope that future fund­ing is avail­able to devel­op the impor­tant col­lab­o­ra­tive meth­ods that we have start­ed here.

Works Cited

Caulfield, Tim­o­thy. The Vac­ci­na­tion Pic­ture. Pen­guin Ran­dom House, 2017.

Vesal­ius, Andreas. On the Fab­ric of the Human Body: A Trans­la­tion of De Humana Cor­poris Fab­ri­ca Lib­ri Septem. Trans­lat­ed by William F. Richard­son and John B. Car­man, Jere­my Nor­man Co., 2003.

Image Notes

Fig­ure 1: Instal­la­tion view of The Anato­my Table, UNAIDS, Gene­va, Switzer­land, 2017. Pho­to by Annik Wetter.

Fig­ure 2: Sean Caulfield, details of The Anato­my Table, silkscreen and inkjet on draft­ing film, and Pho­to Tex, 91 x 61 cm, 2017. Image cour­tesy of the artist.

Fig­ure 3: Sean Caulfield, details of The Anato­my Table, silkscreen and inkjet on draft­ing film, and Pho­to Tex, 91 x 61 cm, 2017. Image cour­tesy of the artist.

Notes


  1. For more infor­ma­tion on these projects, see http://​www​.sean​caulfield​.ca/​p​r​o​j​e​c​t​s​.​h​tml.

  2. For more on the claim that vac­cines cause autism, see Vanes­sa Lam, Steven Teutsch, and Jonathan Field­ing, “Refut­ing a Lie That Won’t Die: Tak­ing the Fight for Vac­cines beyond the Doctor’s Office,” Health Affairs Blog, 28 Feb. 2019, https://​www​.healthaf​fairs​.org/​d​o​/​1​0​.​1​3​7​7​/​h​b​l​o​g​2​0​1​9​0​2​2​6​.​7​4​2​8​5​1​/​f​u​ll/; and Anders Hvi­id, Jør­gen Vinsløv Hansen, Morten Frisch, and Mads Mel­bye, “Measles, Mumps, Rubel­la Vac­ci­na­tion and Autism: A Nation­wide Cohort Study,” Annals of Inter­nal Med­i­cine, 16 Apr. 2019, http://​annals​.org/​a​i​m​/​a​r​t​i​c​l​e​/​d​o​i​/​1​0​.​7​3​2​6​/​M​1​8​-​2​101.

  3. See the fol­low­ing World Health Orga­ni­za­tion and Cen­ters for Dis­ease Con­trol links for more on vac­cine safe­ty: https://​www​.who​.int/​v​a​c​c​i​n​e​_​s​a​f​e​t​y​/​i​n​i​t​i​a​t​i​v​e​/​d​e​t​e​c​t​i​o​n​/​i​m​m​u​n​i​z​a​t​i​o​n​_​m​i​s​c​o​n​c​e​p​t​i​o​n​s​/​e​n​/​i​n​d​e​x​6​.​h​tml; and https://​www​.cdc​.gov/​v​a​c​c​i​n​e​s​a​f​e​t​y​/​c​o​n​c​e​r​n​s​/​m​u​l​t​i​p​l​e​-​v​a​c​c​i​n​e​s​-​i​m​m​u​n​i​t​y​.​h​tml

Sean Caulfield, The Anato­my Table, Gal­leri KiT, Trond­heim, 2017. Silkscreen and dig­i­tal print­ing on draft­ing film, plexi and Pho­to Tex. Pho­to by Yanir Shani.
Sean Caulfield, The Anato­my Table, Gal­leri KiT, Trond­heim, 2017. Silkscreen and dig­i­tal print­ing on draft­ing film, plexi and Pho­to Tex. Pho­to by Yanir Shani.
Sean Caulfield, Detail from The Anato­my Table, 2017. Silkscreen and Dig­i­tal Print­ing on Draft­ing Film, Plexi and Pho­to Tex. Image cour­tesy of the artist.
Sean Caulfield, Virus #1 (Study for The Anato­my Table), 2016. Silkscreen and dig­i­tal print­ing on draft­ing film and rag paper. 61 x 45.72 cm. Image cour­tesy of the artist.