Zalucky (here): Caroline Mauxion liberally intermingles photography and sculpture in her artistic practice, and in this work from 2024, the French artist combines an intimate image of close bodies (printed on the overmat) with a more perplexing picture of a rock tied underneath a knee with latex strips, as though to straighten it in some way. The tonal inversions queer the visual combination further, creating an interplay of touch and balance. Priced at €2800.

Sit Down (here): Diane Meyer’s embroidery adds a hand-crafted kind of blurred pixelization to her photographs. When her technique is applied to images of Berlin along the route where the Berlin Wall once stood, the needlework creates a sense of blocked views and jittering memory. Here the swimming pool in the Olympic stadium (from 2014) is speckled with embroidered squares, like unexpected interruptions or intermittent static. Priced at €3025.

Longtermhandstand (here): This recent work by the Hungarian photographer Dorottya Vékony is printed on glass and was hung away from the booth wall, creating a see through and shadowed effect. The image was made while documenting a group of women doing self-help exercises and rituals at an infertility clinic, the stacked hands pinching the skin on the tops of the hands. The arrangement is supportive and communal, encouraging the process of letting go. Priced at €2500.

Roof-A (here): This 2017 abstract work by Dutch photographer Sjoerd Knibbeler was made using a selection of prisms, breaking the cast light into shimmering, spectrums, fans, arcs, and rainbows. The composition has a sense of visual cacophony, of light disassembling and breaking down again and again. Priced at €4400.

Almanaque (here): This work by the French artistic duo of Edouard Taufenbach and Bastien Pourtout uses the roofline of the Villa Medici in Rome as an orienting edge. During the pandemic, the pair photographed birds flying overhead, catching single silhouettes against the blue sky. The images have then been organized into dense grids, the edge of the building continually rotating as the birds soar and spiral nearby. Like pieces of a movable puzzle, the grid seems to endlessly recombine. Priced at €3000.

Carole Kvasnevski (here): Hélène Amouzou was born in Togo and now resides in Belgium, and her ghostly self-portraits capture her personal sense of being invisible and in-between. Long exposures create the elusive blurs in her work, and this image finds her carrying her suitcase, further amplifying her transitory diasporic mood. Priced at €4700.

Torch (here): All of the recent collages made by the Dutch photographer Popel Coumou use photographic slices of sky as their raw material. She then cuts those planes of color into architectural forms, creating the illusion of space, constructed from emptiness. This work was among the simplest and most elemental of Coumou’s compositions, making clear how she can use gradations of color to define the potential for presence. Priced at €5500.

Julie Caredda (here): This leafy jungle scene in Tahiti has been systematically decolorized by the French photographer Letizia Le Fur. Upending our stereotypes about Gauguin’s lush tropical paradise and referencing the island nation’s history as a colonial site for nuclear testing, the precisely washed out tones amplify an underlying sense of horror, the leaves drained and bleached to an eerie whiteness. Priced at €7500.

Christophe Guye (here): Karla Hiraldo Voleau’s new project “Doble Moral” tracks the lives of women in the Dominican Republic, a country where abortion has essentially been completely banned. In collaborative portraits made with women who have had illegal abortions, she sensitively considers their choices, options, and states of mind. In this image, her subject emerges through a beaded curtain of religion, clicking the shutter release from a hybrid position both inside and outside. Priced at €1900.

Fabienne Levy (here): This recent triptych by the German artist Alina Frieske digitally builds up the painterly scenes of selfie making from hundreds of individual brushstroke and texture fragments. Up close, the works dissolve into shifting pieces of skin, hair, and denim, and then reassemble into expressive composites. A broader sample of her innovative work can be found in her 2022 photobook, reviewed here. Priced at €14000.

fx(hash) (here): This recent work by Erika Weitz (with software assistance from Thomas Noya) reaches far back into the past and then boldly jumps into the digital future. To create her abstractions, Weitz has used the antique wet collodion process to document light patterns generated by software. The oscillating interference pattern in this work represents a note from the pentatonic scale, as captured as vibrations created in response to specific frequencies; the software simulates the resonance patterns and then the resulting light is projected onto the plate. Like Berenice Abboot’s scientific photographs made at MIT in the 1950s, Weitz’ images document the technological wonders of the invisible, in this case leveraging the tactile richness of a hand crafted 19th century photographic process. Priced at €5000.

Binome (here): Thibault Brunet’s colorful typology of gas stations makes an obvious homage to Ed Ruscha. But what is different here is that each of these locations isn’t actually a photograph (made or appropriated), but a virtual 3D rendering, each one made by a “donor” to faithfully document a place overlooked by Google Earth. Up close, the individual stations reveal the simplifications and imperfections of human creation, and together seem to dissolve into the surrounding color blocks, like between-the-cracks technological ghosts. Priced at €25000 for the set; also available as larger individual prints priced at €2900 each.

Schierke Seinecke (here): At first glance, this overlapped arrangement of geometric solids by the artistic duo of Friedmann Banz & Giulia Bowinkel seems like any number of 20th century Modernist arrangements, with echoes of László Moholy-Nagy or Florence Henri, or perhaps some of Barbara Kasten’s constructions more recently. But in this case, all of the objects in the composition are digital and the space is virtual, even though the output is a photographic print. A close look at the blue ball reveals a cleverly impossible “reflection” of the surrounding studio, which of course doesn’t exist. The use of spatial depth and shadow is particularly smart, with foreground blur and overlapped elements making the space feel altogether real. Priced at €4600.

Nguyen Wahed (here): As software code becomes more and more recognized as an innovative artmaking tool, Zach Lieberman (who is also a professor at the MIT Media Lab) is quickly establishing himself as one of its thought leaders. On an almost daily basis, he posts new works on social media, each driven by complex iterations of code and wandering off into unexplored territories of lyrical abstraction. In this large print, the thin lines swirl and overlap with unexpected intensity and brightness, almost like drawn marks on some kind of undulating surface or refracted reflections on a pink-tinted swimming pool. Priced at €8400.

Nguyen Wahed (here): Telescoped imagery populates many of Sarah Meyohas’ speculative photographs, often repeating down receding lines of perspective. Here orbs of light seem to define an empty physical space, which then multiplies and tunnels into infinity. Priced at €32000.

Louise Alexander/Fellowship (here/here): Trevor Paglen has been trying to understand the implications of the development of AI for far longer than those of us just starting to pay attention. The works on view in this booth expand on some of his early experiments with GANs (generative adversarial networks) trained with more artistic (or poetic) data sets, revealing many more iterations and outputs than were originally shown in his 2017 gallery show (reviewed here). This particular grid gathers together outputs of “shadows” (something defined “negatively”, as by absence or the surrounding space), as the system works to improve its representation. The individual outputs are often almost Gothically surreal, as “imagination” takes shape. Seen as a group, these grids represent an important early milestone in attempting to both better understand (and control) the emergence of AI and leverage it for photographic artmaking. Priced at €30000.

Anca Poterașu (here): The inspiration for Aurora Király’s cardboard collages was the viewfinder of her camera, leading to constructions that build up around a central image fixed within intersecting lines. Staring with the Romanian artist’s own prints from the 1990s, her new collages mix background drawings with scavenged cardboard boxes (which held the stored prints), creating sculptural diorama-like mixtures of abstraction and representation, past and present. Priced at €7000.

M97 (here): Cai Dongdong’s photo-sculptures start with archival or found imagery from life in 20th century China, which the artist then interrupts with any number of physical interventions and installations. Here a hand colored image of what might be a marching exercise becomes the raw material for toeing the line, with a literal string held in place by a dangling rock providing the measuring point. As in many of Cai’s works, a tongue-in-cheek cleverness re-activates the propaganda-style setup. Priced at €12000.