“I feel I’m anonymous in my work,” Cindy Sherman has said. “When I look at the pictures, I never see myself; they aren’t self-portraits. Sometimes I disappear.” For four decades, to explore how identity is constructed, Sherman has taken photographs of herself in different guises: the unhappy housewife, the waif, the upset lover. Recently, she’s been playing with digital collaging, distorting facial features to create disturbing visages. This exhibition in Athens presents more than 100 Sherman works from the 1970s—a time when she was appropriating images of women from television, film, and advertising. They are placed alongside the museum’s Cycladic sculpture from the third millennium B.C. —Elena Clavarino