Bernard Voïta’s “Paysages ahah,” 2009–10, are photographic landscapes the likes of which you’ve never before seen. Their intricately nested spaces blend together uncanny microcosms and idyllic expanses, as if in some fantastic dream—or nightmare. How strange that your eye can never rest in these pictures, cannot simply luxuriate in them. These are not postcards of recognizable, manicured gardens. Their color is not really colorful: An overall silver, yellow, or violet shimmer keeps merging into blackness or blazes of brightness, showing to what extent the boundaries between literal and invented