Eaton’s photographic technique is complex and difficult to describe, but her results are intriguing enough to make detailed explanations beside the point. For a series titled “Cubes for Albers and LeWitt,” she created what look like boxes within boxes, exploring forms that appear at once solid and transparent. Beginning with only black, white, and gray elements, Eaton adds color through filters and layered exposures, making photographs that are as tricky as puzzles and just as enjoyable. Op-art teasers give way to vibrant psychedelia in a piece that builds an invisible city from brightly dotted scrims. Through Dec. 17.
More information available at: http://www.newyorker.com/arts/events/art/jessica-eaton-higher-pictures