The twinned forms of back-bending riveters. Homer Page (from c1950) in room 510 of MoMA’s permanent collection galleries.

Circular harmonies working inside a turbine. Lewis Hine (from c1920) in room 510 of MoMA’s permanent collection galleries.

The textured surfaces of a narrow Parisian alley. Eugène Atget (from 1900) in room 501 of MoMA’s permanent collection galleries.

A now-classic zine of youth culture. Ed Templeton (from 1999) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.

An irreverent strain of self-portraiture. Ryan McGinley (from 2001) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.

Early zines exploring intimate portraiture. Paul Mpagi Sepuya (from 2005-2006) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.

Satirizing fashion tropes with at home improvisation. K8 Hardy (from 2002-2006) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.

Re-inhabiting 1960s era snapshots of her parents. Tammy Rae Carland (from 1998) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.

Interrupting a face with shimmery fabrics. Devin N. Morris (from 2016) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.

The repeating patterns of photocopied pigeons. Pat McCarthy (from 2019) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.

A posed murder victim, used as a source image for a Destroy All Monsters zine. Cary Loren (from 1974) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.

Documenting the Bay Area punk scene in the late 1970s, like this theatrical pose of a man passed out. Jim Jocoy (from 1979) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.

Donut holes and shadow patterns. Mickey Aloisio at Marlborough New York.

Interwoven light patterns captured by holography. Matthew Schreiber at Marlborough New York.

Seeing emoji in ancient natural objects. Michele Oka Doner at Marlborough New York.

A clever conceptual sequence playing with the illusionistic properties of shadows. Keiji Uematsu (from 1976) in room 419 of MoMA’s permanent collection galleries.

Gleefully defining (and inhabiting) a series of women’s archetypes. Martha Wilson (from 1974) in room 419 of MoMA’s permanent collection galleries.

Using rephotography to build a taxonomy of visual relationships. Matt Keegan (from 2016) in room 419 of MoMA’s permanent collection galleries.

A calligraphic squiggle of flying ticker tape. Robert Frank (from 1951) in room 402 of MoMA’s permanent collection galleries.

The surreal colors of a corroded oil spill in the Amazon rainforest. Richard Mosse at Jack Shainman Gallery.