Sometimes a quiet, understated image demands equally unfussy discourse, which is why it is difficult (if not counterintuitive even to try) to articulate the vernacular magic within Stephen Shore’s photographs: scenes that are familiar yet rare, static but pregnant with energy, at once immediate and strangely drawn out. In Shore’s work, even a title can say too much, so it seems appropriate that the thirty-two prints (all works 2009) exhibited at the Aspen Art Museum this summer share the same title: “Abu Dhabi.” Produced during the artist’s first visit to the capital emirate, this series depicts