A Retrospective of Many Artists, All of Them One Woman.

I missed this NY Times review of my friend Cathy’s show at the Guggenheim in NY. Now I just have to find a reason to get to NY before January.

Exclusion versus inclusion is one of Ms. Opie’s recurrent themes. After shooting freeways in 1995, she drove cross-country to photograph women living in domestic partnerships. The result was a group of deeply felt but unsentimental marriage portraits taken in living rooms, kitchens, bedrooms and back yards from San Francisco, to Tulsa, to New York; homages to families that America knew nothing about.

The bottom-line subject here, as elsewhere in Ms. Opie’s work, was community — elusive, longed-for, temporary, lost — and she addressed it again and with near-abstract subtlety in two landscape series. For one, she photographed a cluster of ice houses set up for fishing on a frozen lake in northern Minnesota. Two years later she took pictures of surfers waiting for waves to gather in becalmed California ocean water.

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