“Last night I was in the Kingdom of Shadows,” wrote Maxim Gorky nearly a hundred years ago in his celebrated account of an early Lumière brothers film projection at the Nizhni-Novgorod Fair. If the image comes to mind in connection with Shimon Attie’s exhibit of 15 color photographs from his “Finstere Medine” project, 1991–93, there is more than a metaphor at work. In fact, the project began as a series of outdoor projections in a run-down Berlin neighborhood that once housed poor, unassimilated Jewish immigrants from Eastern Europe. (Finstere Medine means “disreputable quarter” in Yiddish.)