Unlike traditional photography in which the camera is used as a pointing device for selecting significant moments and places, Barth’s overriding interest is in perception-in vision itself. Her images share more with the work of Robert Irwin, John Cage, and Brian Eno than with the ideology of Walker Evans or Edward Weston. Barth’s is a serious and concentrated practice that has been rewarded with a great deal of critical acclaim and recognition, including a 2004 Guggenheim Fellowship; the comprehensive survey Uta Barth, published by Phaidon Press as one of the publisher’s prestigious Contemporary Art Series; and most recently, the 2010 monograph Uta Barth: The Long Now. For this Tuesday Evenings presentation, the artist shares her work as it has developed over the past 20 years.