Only the outdated logo on a can of Cherry Coke and a few large boom boxes indicate that Doug Ischar’s photographs date from the mid-1980s. The striped kneesocks, polo shirts, and large aviator sunglasses clothing a dense population of sun-kissed gay males lying on the limestone and concrete blocks lining an urban lake could suggest a contemporary scene. But the photographs—exhibited here for the first time—were taken during the summer of 1985, with a 35-mm camera fitted with a short-range lens. Touching upon the long tradition of documentary photography, they chronicle Chicago’s now-defunct