Laurence Bach’s new series of photographs entitled “Nightspells,” 1986, continue his signature style, combining a Constructivist syntax and Surrealist vocabulary within the framework of a lapidary attention to formal description. They were made, as was all his prior work, on the Greek island of Paros where he summers. They employ, too, the familiar lexicon of objects fusing quotidian function and classical allusion—amphorae, marble fragments, broken wineglasses, stones, pottery shards, cutlery, gauzy fabric—and display the compositional legerdemain with which he has constructed his other recent,