Nostalgia maintains a coy but persistent presence in Colby Caldwell’s exhibition “small game,” the title of which refers in part to both the visual legerdemain possible with Photoshop and to his family’s legacy of hunting in North Carolina and Montana. The show consisted of twenty-two photographs and a five-channel video installation, all relating human interaction with landscape to themes of presence and absence, nostalgia and memory.

The physicality of traditional photography has long been a driving force behind Caldwell’s work, but “small game” represents his parallel dedication to the use of