“My work is based on the analysis, recouping and recontextualising of pre-existent images,” Linda Fregni Nagler writes in her 2013 monograph The Hidden Mother. Its subject is a homonymous body of work for which the Italian artist focused her gaze on the iconographic conventions found in a certain genre of early daguerreotypes, tintypes, and cartes de visite. All these images depict young children held by their mothers, who remain hidden, outside the frame, or shrouded in blankets, steadying their babies during the slow exposure times required by early photographic technologies. Fregni Nagler

After years of photographing modernist domestic architecture, Luisa Lambri has turned her lens to works by artists of the same era, from Donald Judd and Lucio Fontana to Lygia Clark. She shoots her new subjects from the same perspective with which she has long approached her vivisection of architecture, treating the artworks as if they were places. It is no accident that she has chosen to interpret the efforts of artists who have likewise built their practices around investigations of space and architecture, artists who revel in the counterpoint between solid and void, the dialectic between