In “Entr’ouverture,” an exhibition of enlarged details of photographs taken in unnamed European graveyards and charcoal drawings based on Minimalist structures, Barbara Claus explores memory and its erosion.

Claus selects subjects—a tablet in the shape of an open book, cast-iron angels that stand guard in a cemetery, and an abandoned grave site—characterized by a sentimentality that permeates the exhibition. Their surfaces, flooded with gray light, read as details of a larger whole. Expanded in scale, these photographs have an authority that transcends the individual object. Together they serve