Queequeg is introduced early in Herman Melville’s Moby-Dick (1851) and is described, before the character ever utters a word, as a “dark complexioned chap” with a preference for rare steak. Ishmael, the novel’s famed narrator, encounters the harpooner while holing up at an inn whose proprietor has convinced him to share a large, uncomfortable bed with Queequeg, who is somewhere on the street attempting to sell his last “’balmed New Zealand head.” As night blackens, Queequeg returns to his room and there performs a quixotic ritual with a wooden statue before noticing that Ishmael is occupying

“We,” Susan Silton’s first solo show with Luis De Jesus Los Angeles, featured a suite of sixteen photographic prints of the Armstrong Redwoods State Natural Reserve in Northern California. Each black-and-white work presents two nearly identical views of coastal redwoods, resolutely earthbound trunks emerging from the grassy floor. Silton shot them on her iPhone; vantages capture clearings and the receding spaces of deep, dense groves that eschew the aperture of sky. She subjected the snaps to Apple filters (more limited than what is currently available, because she made the images between 2014