“Simple Secrets,” a somewhat unconventional survey of Walker Evans’ career, was selected from the Atlanta-based Hill family’s extensive collection of his photographs. Evans’ most famous body of work, the Depression-era scenes from tenant farms and small towns, was largely unrepresented (though his celebrated ability to accord the human subject a straightforward dignity in harsh circumstances was demonstrated in a group of earlier pictures shot in Cuba). Thirteen previously unpublished photographs were particularly welcome, drawing attention to lesser-known aspects of the photographer’s work,

Prompted by a souvenir—a fringed, black-felt banner with portraits of Martin Luther King and John and Robert Kennedy reproduced here in a small painting—Kerry James Marshall examined the commemoration of ’60s activism in “Mementos,” a complex installation of paintings, sculptures, video, photographs, and prints. Three works actually bear the title Souvenir: nine-by-thirteen-foot unstretched canvases depicting middle-class living rooms with a kind of charged stillness. Each is watched over by a solitary African-American woman, modeled on a friend or family member of the artist, with glittering