Organized jointly by the ICA and the Bergen Kunsthall in Norway, this first major survey of Rosalind Nashashibi’s reflexive cinematic investigations into visual gestalts, surveillance systems, and perceptual memory included five 16-mm films and two photographic projects. In Rehearsal, 2009, greeted visitors first, a photographic installation of ninety-six medium-size shots of an opera rehearsal in Berlin, their unspectacular documentary views capturing the actors’ transformation into fictional roles. Serving as an apt analogue for Nashashibi’s practice, the piece stages representation as a

Elinor Carucci gives a formal slant to diaristic photography. Her subject is herself and her family; the focus is narrow; there is little sense of what might be on the other side of the wall, outside the frame. Yet the images are not claustrophobic. Nor are they ever raw or chaotic. Instead, they are almost classically composed. In an interview, the New York–based Israeli photographer has said that at the beginning of her career, she “was worried about staged work. I was trying to make everything like a snapshot, very spontaneous, because I wanted it to be true, to be honest. I then realized