With the two- to five-part photographic panoramas on display here, Boston photographer David Hilliard has once again presented open-ended narratives about desire, time, and mortality. These color works are often autobiographical, depicting fathers and sons or dreamy adolescent boys; others show shirtless models—posed on a bed or amid lush paradisiacal greenery—and betray the intense voyeuristic pleasure of the man behind the lens. The majority are shot in rural outdoor settings—ranging from a lake in western Maine to marshy shorelines an hour from Anchorage, Alaska—and all are staged with such