new-york

Wolfgang Tillmans

Andrea Rosen Gallery

Individual photographs: a sweeping view of a Venetian lagoon; members of the World Adult Kickball Association gathered on the mall in Washington, DC; a sheet of paper, curled into a teardrop shape and glinting against a reflective surface; a profile of a man’s face encrusted with an assortment of mottled stones. All were encountered in the main room of Andrea Rosen Gallery as part of Wolfgang Tillmans’s eighth solo outing there, “Atair,” where the photographer’s characteristic range of genre and format spurred an initial feeling described once by Thomas Pynchon as “antiparanoia,” “where nothing is connected to anything.” But if the sense at the other end of Pynchon’s continuum—“everything is connected”—never obtains for a Tillmans exhibition, subtle rapports between works nevertheless eventually emerge. A photograph of a newspaper article about the deleterious effects of gold

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