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This little wood figure has red spots on his face, neck, hands, feet, and on his round mouse ears. Even though Measle Mouse is small―just two feet tall―he has powerful-looking shoulders and is wearing an impressive blue outfit as if suited up for a sport or a performance or an important task.

In each photograph in Tossing a Friend (Melinda) (1, 2, and 3), one sees a petite woman in a summer dress being thrown through the air by a large man. Upon closer inspection, we notice that each photograph has been taken from a different vantage point. The three photographs are hung vertically on the gallery wall, making the difference in camera angle and height of each toss more discernible.

Moonlight falls on the rooftops and lawns of a suburban neighborhood, adjacent to an urban center.  Most of the residents appear to be asleep, and noisy cars and voices seem absent, although a few lighted windows suggest that some inhabitants are still awake.

Juan Sánchez photographed this “moment in the street” when his friends’ children paused with their flowers and bicycle. The girls in front are smiling openly; the taller girl in back looks solemn and somewhat protective with her hands on the others’ shoulders.

Water courses through a clearing in a lush forest of birch and evergreen trees. A bright, clear day in summer is suggested by the strong contrast between light and dark—the woods in the background are nearly black while the chartreuse-colored trees and gray rocks are illuminated as if by the strong sun of a high mountain plateau.

Paul Shambroom’s panoramic photograph has the appearance of a seventeenth-century Dutch painting of civic leaders. It is large, thirty-three inches high and sixty-six inches wide. Flags and maps suggest that the photograph was taken in a government meeting.

Philip Hanson’s Mezzanine beckons us into a richly colored architectural space while simultaneously preventing us from knowing where the space leads or what lies at the end of its passageways.

José Clemente Orozco created La retaguardia, or The Rear Guard, in 1929. Though Orozco painted many murals, he was also a renowned printmaker. The Rear Guard is a black-and-white print created using lithography, a printmaking method that uses limestone blocks or aluminum plates to transfer ink drawings to a sheet of paper.

With their electrifying greens, yellows, reds, and blues, La Chanteuse and Prothesian have the glow of a TV screen in a darkened room. Strong horizontal lines radiate color and create an effect of electronic interference.