Françoise Schein was trained as an architect, and she works “between” art and urban design. Hers is a peripatetic vision that roams “between” science and philosophy, geography and politics, history and myth. Appropriately, the matrix/metaphor that she uses to organize the resulting intersections and interstices is the map.

Schein’s first public commission, entitled Subway Map Floating on a New York Sidewalk, 1985, consisted of a steel and glass model of the New York subway system intended to give passersby an overview of the vast nexus underneath Manhattan. Subsequent public-scale proposals

The only photograph in Isabel Muñoz’s “Tango” series that has a title is The Woman with the Red Shoes, 1989, an elegant black-and-white fragment of a couple dancing on a strip of Buenos Aires sidewalk. Muñoz saw the woman (and her shoes) dancing in a flea market the first day she arrived in Buenos Aires; she found her again in a stage show and convinced her to pose. But the result is hardly a portrait: the camera angle is high, the depth of field is shallow, and the woman and her partner are cut off above the hips. The image, like the dance, is a distilled metaphor of seduction: the thrust of