In Lisa Oppenheim’s show “Parallax View” there was a constant tension between easily readable images and those that are utterly indecipherable and entropic. The gallery’s back room contained photographs from the series “Upside-Down Portraits” (all works 2005), consisting of images printed directly from daguerreotypes in the US Library of Congress. The enlarged black-and-white prints of these oxidized, scratched, and generally degraded daguerreotypes are informe surfaces that can no longer be related to titles such as Unidentified Elderly Woman with Cap—all the more so since they are upside