FOR MORE THAN A DECADE, Shannon Kennedy's work has focused on the body, scrutinizing its surfaces in search of the secret logic of identity embodied in flesh. In the mid-'90s, Polaroid self-portraits featuring abstracted images of the artist's face gave way to sprawling collages pieced together from repeated photographs of a single body part—an ear, armpit, forearm, and so forth. For a 1999 piece, Building 4 (soap factory), Kennedy used a tiny video camera, designed to enable examination of the digestive tract, to explore the cracks, crevices, and dusty comers of an aging building. Here