Form and structure in imposing walls. Leavitt Hunt from 1851 (in the Gary Edwards booth) at Classic Photographs Los Angeles.
A frenetically abstract multiple exposure. Peter Keetman (in the L. Parker Stephenson booth) at Classic Photographs Los Angeles.
A hidden face caught in a reflection. Irving Haberman in the PM New York Daily: 1940-48 group show at Steven Kasher.
The folds and textures of a broad-shouldered back. Louis Draper at Steven Kasher.
The interplay of delicate rippling folds and Polaroid residue. Cathleen Naundorf at Edwynn Houk.
Dissolving image fragments printed on steel shelving. Zak Kitnick at Mary Boone.
Rhythmic collaged patterns of artistic inspiration. Matthew Craven at Asya Geisberg.
The symbolic revolutionary mix of maps, guns, and pointe shoes. Detail from a William Kentridge video at Marian Goodman.
Books transformed into floral filigree. Cara Barer at Klompching.
Dark roots near an Underground Railroad stop. Jeanine Michna-Bales in the Moving Walls 23: Journeys group show at the Open Society.
The interplay of rocky textures and digital marks. Leah Beeferman in the Liquid Pictures group show at Klaus von Nichtssagend.
Slicing time into 12 synchronous views. Barbara Probst at Murray Guy.
Folding table ballroom opulence, punctuated by a real chandelier. Robert Melee at Andrew Kreps.
Collaging vicious monkeys into a perfect living room. Nadine Boughton at United Photo Industries.
The cherry red pop of a back pocket squirt gun. Linda McCartney at Gagosian Gallery.
The bold stare of mid-1980s Christy Turlington. Patrick Demarchelier at Staley-Wise.
The cut paper tragedy of a Clear Blue Sky paint swatch. Thomas Allen at Foley.
Female nude as obtuse angle. Late 1930s Modernism from Annemarie Heinrich at Nailya Alexander Gallery.
Dizzying depths of iterative studio rephotography. Rodrigo Valenzuela at Envoy Enterprises.
Layers of car crash lightboxes. Zineb Sedira at Taymour Grahne.
