Viewfinders are not just standard features of your average camera but devices that affect visual understanding way beyond the photographic realm. (How many younger Western artists can have escaped the “cut a hole in a cardboard sheet and use it to compose a picture” routine in their early training?) Conventional “viewfinding” assumes a portable apparatus and a mobile viewer, scanning the environment and cropping it into manageable chunks. Vera Lutter’s “cameras” refuse these behaviors. Pinhole cameras writ large, they have no viewfinder and are either immovable or far too heavy for a human to

Nostalgia is everywhere in contemporary art, but in the new work shown here by Canadian artist Shannon Oksanen it feels unusually bracing. The main attraction was a video projection whose two channels were screened on adjacent walls, in the manner of Pipilotti Rist. But in contrast to Rist’s (already) classic dual-screen works like Sip My Ocean, 1996, and Ever Is Over All, 1997, the principal action in Oksanen’s Greensleeves, 2004, takes place on the right channel, whereas its more lyrical or decorative complement takes place on the left. This apparently insignificant reversal is formally