In his fourth solo show at this gallery, James Welling presented recent works from three ongoing series that all borrow from—tweak, honor, and poke at—photographic traditions: the formal, the documentary, the conceptual, and the diaristic. The “Degradés” series, 1985–, are created by manipulating light in the darkroom to expose chromogenic paper and are thus unique color prints, or abstract color photographs. These atmospheric images call to mind Color Field painting and similarly make strange the divide between abstraction and representation. The compositions exist at once as dry records of

Won Ju Lim is known for groupings of foamcore and Plexiglas architectural forms illuminated by still and moving projections of urban and industrial landscapes from within and dramatically lit from without. The structures double as screens or refraction lenses, creating shadows and distorting the projections as they hit the walls of the gallery. Lim’s second show at this gallery offered a departure in a group of mostly rectangular light/shadow boxes (all works 2003) twenty inches deep and ranging in size from roughly three feet square to nearly four by eight feet. Hung at picture height in a

Although I might wish for the death of photography almost every time I have to stomach it in a gallery (despite my whorish delectation of photographs daily), I think the idea of the death of any medium is absurd. This, however, is very different from being interested in artists who destroy and deconstruct their medium in order to reconfigure, recycle, or renew it. Katie Grinnan uses photographs as material for sculpture and plumbs how photography’s use of color, shadow, light, and space changes when it forms a physical interior or exterior. Folded or bent space, actual space, and remembered