In its simultaneously celebratory and critical framing of stereotypical Detroit in its current, postindustrial state, Bruce Weber’s recent exhibition was a welcome visualization of the Motor City. Comprising more than eighty mostly black-and-white medium- and large-format photographs and a ten-minute video (also shot in black-and-white), the show presented cityscapes and portraits taken by the New York–based fashion photographer when he visited the shrinking metropolis on assignments for W magazine in 2006, and for Shinola, the luxury Detroit watch manufacturer, in 2013.

Weber’s representations