With just 47 new and recent photographs, this is a relatively sparse show for Friedlander, but it would probably look crowded with half that number.
Each picture is so dense with visual information that it could use a wall to itself. Friedlander thrives on too-muchness: confusion, disjunction, reflection (often involving sly self-portraiture). The images-within-images include a number of thrift-store, coffee-shop, and beauty-parlor windows that mirror nearby façades. There are pictures taken in California, Texas, Mississippi, and Sweden, but a New York City grittiness prevails.Read the complete review in The New Yorker.