*Chocolate, ink, peanut butter, wire, glue, thread, sugar, soil. The words read like a supermarket shopping list. But for Brazilian-born artist Vik Muniz, this everyday taxonomy is a Borgesian bestiary, each item a magical being with its own special power and a mythic tale of how it came to be. As a self-described adventurer in the “world of the nonexistent”—that is, of the image—Muniz has deployed these unlikely media to conjure everything from Andy Warhol paintings to simulated cumulus clouds, from Hollywood film stills to newspaper clippings.

In his latest project, “Clayton Days,” 2000, Muniz has gone looking in the folds of history for the uncanny doublings that have become his signature. He has created—or rather, re-created—a series of sixty-five black-and-white “vintage” photographs from Clayton, Henry Clay Frick's Pittsburgh estate, now a museum that preserves

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