Gordon Hall at DOCUMENT

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The part, piece, glint is inherently evocative. It projects its missing part liked a dotted shadow, which we fill in. Everything here ready for something else. You stop the artwork from completing meaning so that it forever self renew, remain ungraspable, await its performance again.

Stan VanDerBeek at DOCUMENT

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A photo of a projector. Two photos actually, of 19. While a video is provided, the photos are an assertion of your missing something, even of the object we usually ignore. An object photographed as totem to the distance between you and what you clicked to see.

Paul Mpagi Sepuya at Document

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Perhaps the difference from Tillmans is proven then by its flaunting the camera as possessor, the machine which embeds the photographic capture as loss, everything moving away from the machine indexing time we see now but was. These people, these bodies, moved away from this moment and its crux the camera, projecting the point. It's horribly romantic but it's true, time intransigently on, surely stupid to point out, but painful to see every-time we see it, this, our, present meeting some past and knowing now us too then. It's why so many photographers are want to document the youth, embodiment of the photograph's eternal nubility as we all die, see you then.