Post-arcadian, neo-romantic, and curiously classical, Rodney Graham’s seemingly contradictory investigations of nature negotiate the seditious terrain between criticality and homage. His signature large photographs of inverted trees (perhaps less an inversion than a dismantling of the retinal gymnastics our eyes perform and of the pinhole mechanics of photography) offer peaceful disruption and a cunning nod to the ways that art has always made nature into a complex site of desire and exploitation. In the 1998 “Welsh Oaks” series on view, Graham presents images as traditionally composed as those