“Artist and Her Model,” Finnish photographer Elina Brotherus’s second solo exhibition in Copenhagen, surveyed a narrow selection of the artist’s photographs from 2000 to 2008 and offered a finely wrought miniretrospective. Viewers familiar with her work might have read the title as tongue-in-cheek—since many of her pictures are self-portraits—seeing the show instead as a lineup of greatest hits from a larger archive and, moreover, as the diaristic examination of a persona, simultaneously in front of and behind her camera.

A few examples from her well-known series “The New Painting,” 2000–2004,