Roland Barthes’ observation in Camera Lucida that “It is not . . . by Painting that Photography touches art, but by Theater” seems particularly apposite in relation to Calum Colvin’s photographs. Incorporating objects, architectural constructs, collage, paintings, and art-historical quotations, Colvin builds and photographs extravagant installations. Heightening the perspectival tricks and dislocations initiated within the “sets,” it is the glossy, sharply focused cibachrome print that constitutes the final work.

Playing off the conceit that the camera does not select—that it captures all that