For the first time since Willie Doherty began exhibiting in the mid-’80s, his new body of work does not refer more or less directly to the lived experience of his native Northern Ireland and the ways in which daily life (and death) there have been represented to a wider world. Even his 1999 video installation True Nature, which was produced and first shown in Chicago, interrogated the images of a romanticized homeland concocted by second- and third-generation Irish-Americans who had never visited it. But the new work, Extracts from a File, 2000, forty small-scale black-and-white photographs of