Exhibition spaces in museums and private collections were the subjects of the photographs in this recent show—but always without artworks, having been photographed immediately before the installation or afterward, when the works had already been taken down. “Candida Höfer/Kuehn Malvezzi,” as the show was titled, established a relationship between the analytical eye of the Cologne photographer and the equally rigorous practice of the Berlin-based architectural firm. In Höfer’s photographs, space is an absolute protagonist, its dimensions analyzed in each shot, defined within the geometric