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 nightmareshigh-security military sites, including missile command centers, Trident submarines, and weapons storage facilitiesmade 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 originated at the Weisman Art Museum at the University of Minnesota in Minneapolis, brings together his nuclear series and four other major bodies of work: “Factories,” 1986–88, “Offices,” 1989–90, “Meetings,” 1999–2003, and “Security,” 2004–2007. As these photographs indicate, Shambroom
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