Instant printing “fotomat” booths were sentries from a bygone era: a quick-and-dirty way to get photos, the immediacy of image preserved forever. Which makes sense when paired with Wally Workman’s Ian Shults exhibit, whose work has the vibe of something precious processed through grime. Cinematic stills of faces or bodies in motion grace each piece, figures crackling with energy, slashed through with asymmetrical lines or enhanced with specks and dots. They aren’t photorealistic, necessarily, but they get to the honest soul of a work – a quick processed view of something greater. Saturday’s opening reception marks a scant three weeks to view them in person.
Through September 28