I FIRST SAW PHOTOGRAPHS from Paul Shambroom’s “Nuclear Weapons” series, 1992–2001, in 1995, just prior to the passage of the Comprehensive Nuclear-Test-Ban Treaty. Shambroom’s frank documentary depictions of places glimpsed by most of us only in nightmares—high-security military sites, including missile command centers, Trident submarines, and weapons storage facilities—made for riveting viewing, even as cold-war fears of certain doom seemed to be loosening their grip. Now, in a vastly changed cultural context, the Minneapolis-based artist’s first comprehensive midcareer survey, which