New York

Hamish Fulton

John Weber Gallery

Hamish Fulton and his occasional traveling companion Richard Long have been, like Braque and Picasso, so roped together that, to a casual glance, it is sometimes difficult to see where one’s photographic work ends and the other’s begins. Both artists tend to walk in the remote corners of the world; but Long uses the walk to document the elemental or sculptural gesture, beating out his own paths and making material “cuts” in the landscape, while Fulton treads quietly, little more than a silent witness to the nature that becomes annotated in his captions. “Day 11,” he begins, in support of one image, “No eye—the direction of listening.”

Fulton does not necessarily avoid the signs of other people as if he were the discoverer of some mythical virgin territory. He may show us the already trodden paths (Drum, 1979 and ’87), the cairn marking a lonely route (Rain, 1985), or a sculpted shrine in

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