Shannon Ebner’s “Black Box Collision A,” 2013–, is a series of large-scale photographs, all depicting the letter A. Seventeen of these images dominated her solo show “Black Box Collision A: Gasoline & Auto Electric.” The many reiterations of the same letter constituted a clear invitation to reflect on the language of photography and on the legibility, even authenticity, of its subjects. The framed Epson ink-jet prints, all approximately sixty-four by forty-three inches, seem to find their subject in a wide range of situations, often advertising. They oscillate in their presentation of the letter

THEY WERE BOTH ABUSIVE TO THEMSELVES, AND HE HAD SPENT SO MUCH TIME TALKING ABOUT ACCESSIBLE WORK. AND THERE WAS THE ISSUE OF FAMILY, AS ARTISTS AND IF IT WAS POSSIBLE. These words appeared above the gallery window during the recent show in Milan by the New York–based artists Jeanette Mundt and Ned Vena. Although they share a life as a couple, the two do not normally work together and have significant and separate careers of their own, so there was undoubtedly some risk involved in this collaborative endeavor. Yet this exhibition seems to have been cathartic, an indelible experience that could