An aerial photograph of a glacier that might almost be an abstract composition in somber greens; a deserted airport-terminal hall, its floor and baggage carousels shiny beneath an expansive and oddly oppressive array of round ceiling lights; a bleak river scene caressed by the light of a low November sun; people captured in fleeting moments—Gabi Steinhauser’s works hint at established genres such as landscape, architecture, and portrait photography, yet she aims for something else. They are uniformly Untitled (all works cited, 2014), prompting us to see them as instantiations of a neutral