b'create beautifully anachronistic works that contend with a longer history of the relationship between images, objects, and documentation. Like Prochaska and Tharp, this series sug-gests bodies that are not quite wholeimages of the figure in transition, incomplete, and as figment. Anya Kivarkiss set of two surreal images also suggests a sense of unreconciled space and body. Using mirrors, reflections, photographs, and light, Kivarkis creates seductive pictures of adornment that confuse object and image, self and other, architecture and sur-face. The images refuse to cohere even as we study them to discern their logics and structure, offering something just out of our grasp.As with Saxon-Hills photographs, Wendy Red Star and Geraldine Ondrizek both use histor-ical images in their works, complicating our understanding of these sources and redeploying them in contemporary contexts as mechanisms of inquiry. In five diptychs, Red Star uses red ink to annotate a series of black-and-white portraits taken in 1880 of an Apsalooke delegation that traveled to Washington, DC, to negotiate land rights with the United States government. Her rewriting of the semiotics of self-presentation and identity complicates these documents, altering and giving depth to the archive. Ondrizeks use of the archive of a mid-twentieth-century German doctor studying biometrics and genetic inheritance under-takes a similar exercise. For Red Star this is a corrective act that adds to our reading of these iconic images, and for Ondrizek it is a means of connecting the origins of these images of physical markers like handprintsthe desire to define identityto our current and contin-ued desire to categorize and legislate according to such ideas. For these artists, images and records are not neutral, but rather palimpsests of political and cultural information ripe for investigation and transformation.Red Star and Ondrizek employ tropes of museum and academic aesthetics and display, a methodology we also see at play in the work of Tannaz Farsi and Jack Ryan. Farsi uses origi-nal images alongside found objects to create multimedia installations that draw out connec-tions between her own personal narrative and the broader strokes of history, both ancient and contemporary. Ryan works in a variety of media, but his primary interest is sound, as he recalibrates everyday objects into vehicles for the subtle transmission of phenomena and information. His display of found objects that he has adapted to emit the frequency of the earths electromagnetic fieldthe so-called Schumann resonance from which his work, Schumann Resonance Conduction Unit (201519) draws its titleliterally attunes us to the unseen forces that determine our world. Like Farsi, Ryans work plays with the affect of 18'