The prologue to “Realities” comes in the form of a 1929 series of black-and-white photographs by André Kertész, entitled “Distorted Portraits of Carlo Rim,” in which the photographer’s old friend stands before several funhouse mirrors watching his reflection absurdly taper and swell, with Kertész himself visible in the background, The series provides an apt metaphor for curator-collector Ydessa Hendeles’s most recent exhibition, a tidy and unapologetically impassioned selection of works spanning the nineteenth century to the present, which, like a distorting mirror, offers a view of realities,