In Zoe Leonard’s “Sun Photographs,” 2010–, the artist sets out to depict some of the paradoxes of light. The series, selections from which were on view at Anthony Meier this past spring, features emanations from the sun captured in gelatin silver prints. A few of the images are anchored at their bottom edge by urban landscapes—buildings, antennae, branches—while others are centered on the glare itself as it dissolves into abstraction. Together they comprise a meditative encounter with the dualities that structure both vision and photography, as Leonard points her camera at the thing

Alejandro Cesarco’s show at Kiria Koula comprised two films, a print, and a wall silk screen, each of which revisited his abiding themes of time, memory, and the visual and textual signifiers that mediate our experiences of them—rendering (however imperfectly) such immaterial phenomena communicable. One of the artist’s interests is books, as both material objects and conceptual systems that organize narrative, structuring the relationship between author and reader. He is especially attuned to those aspects of writing that are slightly marginal to the text proper. For example, in a series