Claude Cahun’s Aveux non avenus has been aptly described as an anti-memoir: while the book’s diaristic format and title (which translates literally as “avowals that have not yet happened”) imply a confessional exercise, its contents resist coalescing into a resolved, coherent narrative. In the words of the artist’s friend, author Pierre Mac Orlan, who wrote the introduction, the text consists of a series of “poem-essays and essay-poems,” comprising a free-form assemblage of dream accounts, fables, aphorisms, correspondence fragments, and imagined dialogues. Each of its nine sections, written mostly between 1919 and 1925, is prefaced with a photocollage, which the artist created in collaboration with her partner Marcel Moore. Paralleling the manner in which the text scrambles the conventions of autobiography, these striking images explore the norms of self-portraiture, presenting Cahun at different ages displaying different guises and genders. In marrying this destabilized conception of selfhood with the psychic interrogations of Surrealism, Cahun’s work presages much later theoretical and artistic explorations of the malleable, constructed nature of identity.