Janet Cardiff’s photography tests the conventions of visual presentation. Using a pinhole camera and extended light exposures, she creates dark foreboding images of the human presence in nature that defy the documentary vantage point of straight photography. In the two groups of work presented here, Cardiff develops short, open-ended narratives. Two-photo wall constructions, which she calls “Hidden Images,” each consist of a small framed photograph beneath a light, positioned behind a larger image mounted on an open steel frame. Cardiff’s couplings of images, such as a dark house emerging through