In this “El Monte,” the science of ethnography is traded for something less rigid, something more whimsical and unconstrained. Whereas Cabrera sought to present a faithful documentation of the occult, the Jiménezes build a dizzying world of multiple dualities, in which photographs appear to be paintings, Afro-Cuban and Greco-Roman mythologies mingle freely, and the aesthetics of Western art movements surround what the twins call “shadow figures”—models distilled into blacked-out, bright-eyed presences, redolent of Ayón’s visual universe.