Three months later, Marcus stood in the gallery where his thesis exhibition was being held. June had arrived with the kind of heat that made Chicago shimmer, and the gallery's air conditioning struggled against both the temperature and the crowd of people gathered for the art therapy program's final presentations.
His work hung on the walls—not the October paintings, not the manic fragments he'd created during his relapses, but something different. A series he'd titled "Chronic," depicting the same scene painted over and over across twelve canvases: a figure taking medication at a kitchen counter. Each painting was slightly different—the light changed, the figure's posture shifted, the medications multiplied or simplified—but the core image remained constant. The daily ritual of management, rendered in variations.



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