From the very start of her career less than a decade ago, Katja Mater has ventured further and further into the borderlands of photography. For her latest show, “Interior A–J,” she constructed a wooden “room” inside the gallery that echoed the shape of its interior almost exactly. This seemingly redundant installation was necessary because Mater wanted to record as if looking through the walls from outside the goings-on inside the space—namely, the process of painting the gallery’s walls in four layers, starting with blue and ending up with silver, with the aid of ten cameras—and she