Graeme Hare’s recent photographs hover between abstraction and figuration. In this they are consistent with his earlier “Backgrounds” pieces, oddly blank works that mimic urban landscape’s background detail, yet deny sufficient referents to establish the narratives they so strongly suggest. The bichromate photographs in this exhibition oscillate between an anachronistic pleasure in landscape’s expressive potential and a fastidious and most contemporary retreat from any imaging of the real. Hare grouped his photographs in an installation of landscape tropes: trees against sky, city nocturnes,