In the spirit of Renaissance triptychs, Anatomy presents three distinct portraits, by three different directors, each one fascinating in its individuality yet relating to the others in profound ways. “Skin” introduces us to Geoff, who for twenty years has commissioned tattoos from the same artist. Now retired, Geoff decides to “complete the suit”—covering his entire body—and to find a way to preserve the art after his death. In “Heart,” artist Jacqui Stockdale reunites with her former lover and muse Rose to paint a new portrait, dance a tango or two, and reflect on the mystery of their connection. “Muscle” portrays a trio who perform as “Acrobat—A Very Superior Troupe” and promote themselves as “smaller, poorer, cheaper.” We see them cope variously with sustaining injuries, maintaining a normal family life, being HIV-positive, and rehearsing a grueling, psychologically intense act—all in sinew-straining, bone-crunching close-up. As one of the acrobats notes, “My body is my identity. It’s my equipment, a tool of my work.” Anatomy invites us to consider this idea three times over and apply it to ourselves as well.  AT