A strong group of Wood's photo-collages, made between 1955 and 2006, are the centerpiece here. Yao, a Chinese photographer making his U.S. début, adds the flash with a shrewd series of large color images inspired by classic Chinese landscape paintings.
What appear to be mountains are, in fact, piles of garbage draped with construction netting and dotted with tiny pagodas, waterfalls, and industrial plants. The digital imagery is seamless; the message about the environment is pointed. But in the back room, a group of vintage Siskind photographs of found Abstract Expressionist images blows everything else—in the gallery, and in Chelsea—away.
Read the complete review in The New Yorker.