Katy Grannan’s photographs in “The Ninety Nine and the Nine” captured the bleak geography along Highway 99, a road connecting Fresno, Modesto, and other mostly unbeautiful, sometimes destitute cities in California’s Central Valley. Culled from two series that jointly provided the show’s title, these photos took us beyond the usual clichés of California as a land of broken dreams; there were no lonely palm trees here, or vacant swimming pools. In her series “The Nine,” 2011–, Grannan presents large-scale, grainy, black-and-white landscape shots of highways, scrubby hills, church walls, and parking