In the crystalline Modernist fantasy that is Julius Shulman’s Los Angeles, all is gleaming right angles or burnished curves. Presenting an architectural portrait of rigorous purity and refined order, with form obediently following function, Shulman’s photographs of commercial buildings and houses from the ’30s, ’40s, and ’50s are high-Modernist foils to Jean Baudrillard’s phantasmagoric vision of Los Angeles. In Shulman’s Los Angeles, the limpid, bright atmosphere reveals serene domestic spaces and chimerical vistas of an untroubled urban expanse.

Shulman, who has been taking photographs

John Souza’s “Rememberentering” consisted of seven large wall pieces and one that was petite—like Snow White and her dwarfs in reverse. Issues of architecture, death, memory, and narrative were all addressed in this show, but it was the tiny elements that made the work compelling. The quizzical decisions, non sequiturs, and deliberate craftsmanship roped the viewer into these frisky and deadly serious sculptural constructions.

Long titles suggested their own narratives. The title of one work, Past the Moat, the Drop Gate and Iron Doors, the Intruder Advanced Toward the Castle’s Murder Hole and