Aaron Rothman

Photographing nature through acts of erasure, obliteration, amplification, and reversal.

In the remote city of Iquitos, Peru, photos of young gay men portray (and problematize) the desire to escape the everyday world in search of freedom and bodily expression.

Tweeting from the parking lot. Routing a phone call through a fake boulder. In these photos, we see the mundane landscapes where humans meet digital infrastructures.

Two American photographers play with deep cultural fantasies about wilderness and expedition.

The abstract lines we’ve drawn across America — the Mason Dixon Line, the Transcontinental Railroad — still resonate in the cultural landscape of the nation.

Satellite imagery might seem neutral, but it is constructed by systems which not only present but also transform the raw visual data.

We live in an era of ubiquitous surveillance, and a growing number of photographers are exploring what it means to be always watched, or always watching.

From Robert Frank’s American road to Zaha Hadid’s Azerbaijan project, photographs of engineered unreality.

Reality and unreality blend in the work of two artists who regard architecture as conjecture — half built, half imagined, teetering between proof and illusion.

Martin Hyers and William Mebane document artifacts of American life. Here, they present stark photographs of faded icons from Levittown to the Corvette Stingray.

A photographic survey of every dead-end street from Greenpoint to Sheepshead Bay. Is this a warning? A metaphor?

Unplanned, informal settlements are home to a billion people worldwide.

A photographer embedded in the Afghanistan War applies the syntax of landscape photography to the subject matter of photojournalism.

A landscape photographer examines material traces of invisible phenomena like climate change and politically disputed land claims.

Photographs of empty showrooms and nightclubs reveal how architectural space is defined by use and activation.

Paintings and photographs in which meaning is created by the gap between the real and its representation.

A contemporary photographer’s work resonates with 19th-century views of the American West.

Photographs of Buenos Aires use the city’s topography as an organizing principle.

Los Angeles has been so heavily mythologized — as paradise or dystopia, or both — that it can be difficult to resolve the idea of L.A. with its actual presence.

A Mexico City photographer focuses on the visual infrastructure of the street, the unremarkable environs of everyday life.

Aerial photographs of the bankrupt luxury developments on an artificial riviera 20 miles east of the Las Vegas Strip.

Photographs of Detroit that show the city in the present tense — not a symbol of decline, but a place where people live.

The fragile and changing landscapes of the barrier islands of southern Louisiana.

Baroque still-lifes in the weeds and trash of New York City. Majesty in the ordinariness of urban life at a pedestrian scale.

Photographs that expand the idea of the “natural” to include the effects of human interventions and impositions.

Our most important interactions with landscape leave traces that cannot be contained within the photographic frame.

How can a photograph convey the physical sensations of being present in a place?

Three artists interpret the view from above — and the very idea of landscape itself.

Photographs of transient camps set up all across Europe by undocumented workers from Africa and Asia.

Photographs of the last town on the Yangtze River to be submerged by the reservoir of the Three Gorges Dam.

The enduring power of the photographs of Robert Adams, and what they reveal about the paradoxical landscapes of the American West.

It’s easy to summon large feeling when we’ve arrived at a majestic waterfall or canyon rim, but the world requires us to read more carefully.

A Detroit-born photographer documented his city in the early 1970s; he returns to the same sites 40 years later.

A photo portfolio captures the unshakable unease that followed September 11, 2001.

Over three decades, Mark Klett has pioneered and refined the art of rephotography — of making new views of earlier and sometimes iconic vantage points.

The ecological effects of rapid urbanization on rivers in the Monterrey region.

The rapid suburbanization and disappearing natural landscapes of Monterrey, Mexico.

Photographs of altered landscapes that seek to create an immersive and experiential sense of place.