What happens when photographers expand editions that collectors assumed to be closed? A pending lawsuit raises hard questions.

Adept with an unusual range of mediums, L.A.-based artist Sam Falls uses inventive techniques to fill his photo-related works with exuberant color.

What can we see? What do we hear? How do image and sound relate? What is an image, or an object? How separate is one thing from the next? Such questions proliferate when we watch a work by British filmmaker Emily Wardill, often a somewhat bewildering experience at first. Despite their ostensible narrative frameworks, her recent feature-length films, such as Game Keepers without Game (2009) or Fulll Firearms (2011), are so fraught with ontological issues and strategies of disruption that any hope of straightforward interpretation is deeply shaken, if not totally shattered.

ON HER FIRST DAY visiting the 2009 Venice Biennale, Susanne Ghez saw the Romanian pavilion, one that, according to her, almost everyone else was ignoring, since the Eastern European country is not exactly an artistic trendset- ter.

A paradigm-shifting exhibition reassesses Earth art, offering an unconventional view of the movement’s objects, actions and sites.