New Zealand artist Mike Stevenson carefully copies famous photographs in fuzzy, heavily worked charcoal drawings and his models are, to say the least, carefully chosen. These instantly recognizable desert landscapes and gallery interiors appeared in the art magazines of the late ’60s and, since then, have illustrated a thousand texts on the dematerialization of the art object. Twenty five years ago, they were documentations of earthworks by Walter de Maria and Michael Heizer and now, in Stevenson’s exhibition “Some Latter-Day Art,” a few extra details have come into focus as if the edges of each