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Picking up illegal immigrants at the Home Depot and other gathering places near Los Angeles, the figurative painter John Sonsini paid them an hourly wage to pose for a series of studio portraits. They’re empathetic, but in simplistic, how-thoughtful-I-am terms: Look, poor people. It’s telling, in fact, that the former scenic artist’s breezy, uniform brushwork fails to distinguish hands from backpacks, faces from work boots. Single portraits, like Fernando (2006), work best; grouping the men seems to reinforce their social invisibility.