Martha Rosier’s clinical photographs of airline terminals, which she has been documenting since 1983, form a pictorial Baedaker of international transit centers. She confronts us with the bare bones of commercial facilities by putting their anonymity in sharp focus.

Though airports are packed with people, except for those bleary nighttime hours when only custodians and security shuffle about, Rosier almost always exempts passengers and employees from her static vistas of check-in counters, entrance ramps, departure gates, and baggage claims. In these large Cibachromes (the most recent are billboard