Fall 2025

Issue 29 opens with a conversation between An-My Lê and Alexandra Brodksy about Lê’s photography practice, the connections between making images and writing, and the somatic experience of witnessing artwork in person.

For “Eye of the Beholder,” Jonathan Spies writes about photographer Neelon Crawford, detailing his darkroom and printing process and later focusing in on his 1980s Reconnaissance series, inspired by images made by the U.S. Army during the Bikini Atoll atomic bomb tests.

In “Portfolio,” Deb Leal showcases her series Abre Camino, a work that explores the syncretic religion of Curanderismo.

Zaid Arshad’s essay on Mo Costello brings into focus the role of silence in Costello’s photographs, arguing that her singular artists’ vision extends beyond the visual and into the “almost mystical realm of deep object-hood.”

The second “Conversation” sees Justine Kurland interview Pamela Sneed in a wide-ranging discussion that includes Sneed’s transition from poetry and performance art to painting, commitment to social justice across mediums, and paying tribute to those whom history has forgotten.

Rick Moody offers a list-based “improvisation” on the works of John Shen for the issue’s second essay, writing that “John repeals history,” creating images that “look and feel historical but not documentary.”

For “Picture Perfect,” Christian Rattemeyer reviews Matthew Metzger’s hyperrealistic paintings—works that may at first appear to be the opposite of “abstract,” and yet whose subject matters deal almost exclusively with abstraction.

“Stories” is by Riddle’s (Nathaniel DeLarge and Raine Trainor), who distributed polaroid cameras to participants at Glenner Town Square: a “reminiscence therapy center” for adults with dementia.

Finally, Cay Sophie Rabinowtiz highlights the work of photographer Ken Griffiths for “Reportage,” focusing on images he made during his time in the Texas Panhandle in the 1980s.