Roberto Pellegrinuzzi deconstructs photography into sculptural theater. He combines objects—photo-sculptures, really—with large, conventionally presented photographs. His work exhibits a high degree of formal self-consciousness. Pellegrinuzzi links this formal self-absorption to a statement about photography’s ultimate solipsism, its unreliability as a record of reality.

Much recent photographic practice is predicated on such a negative reading. Photography’s illusion of transparency, its false immediacy, its spurious representational authority become working assets in the context of post-Modern