The spring exhibition began with a question: what happens when you hang a 1795 color print beside a photogram made fifty years later, and a portrait painted a century after that?
Three centuries, one wall
Blake's Pity anchors the first room: the color print still reads as if it were pulled yesterday. The Atkins cyanotypes follow in a quiet blue line, each plate hand-captioned in her looping white script. Philpot's figures close the show, modern and composed.
A group show is a conversation the artists have without speaking: the hang is just us turning up the volume.
What drew people first
The surprise of the opening was the smallest thing in the building: Blake's Ghost of a Flea, barely eight inches tall, held a crowd three deep for most of the evening.
Come see the rest before it closes at the end of the month.