“Every photograph is a certificate of presence.” Roland Barthes’ words seem most appropriate in considering Ania Bien's photoinstallation Hotel Polen, 1987. Eighteen photographs, enlarged to human scale, occupied a narrow corridor gallery here, arranged in parallel rows of eight, with a single photograph mounted at each end of the space. Each one features an old brass menu stand, engraved with the hotel's name, against a field of glossy black. In all but the first of these pictures the stand holds an object: an old postcard view of people seated on a terrace, with mountains in the background;