Looking at Michael Wolf’s photographic series, one is flung between two poles: Is the photographer trying to demonstrate how dehumanized the world has become, or is he insisting on the opposite?

One series, “Architecture of Density,” 2003–2009, shows images of Hong Kong high-rise buildings, with rows and columns of windows that seem to extend ad infinitum and, in fact, look quite like pixels. The images don’t have the all-encompassing feel of those by Andreas Gursky, such as the artist’s Hongkong and Shanghai Bank, 1994; the motion Wolf’s works inspire is less one of stepping back to be enveloped