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The article reviews the exhibition "A History of Graph Paper" at the On Stellar Rays gallery in Lower East Side, New York City, which features the photographs of John Houck.

The article reviews a photography exhibition titled "Daniel Gordon: Thin Skin II," by Daniel Gordon at the Zach Feuer Gallery in New York City.

''La Carte d'Apres Nature'' at the Matthew Marks Gallery in Chelsea is the kind of magical, intuitive show that could only have been devised by an artist. Using the Belgian surrealist painter Rene Magritte as a kind of divining rod, it finds surrealism in some unlikely places. Its curator, Thomas Demand, is well versed in the uncanny; his best-known works are photographs of paper reconstructions of historical landscapes and interiors photographed to look just enough -- but not too much -- like the real thing. [ABSTRACT FROM PUBLISHER]

If you want to subject your eye and brain to a stimulating exercise in frustration, see ''Haunted: Contemporary Photography/Video/Performance'' at the Solomon R. Guggenheim Museum. Next read the show's catalog. Then try to fit them together in a cohesive way. You probably won't succeed. This show traces photography, photo appropriation and their offshoots, from stalwarts like Andy Warhol and Robert Rauschenberg to newbies like Sara VanDerBeek and Nate Lowman. The catalog, on the other hand, barely makes it past the Pictures artists of the 1980s who helped appropriation -- the use of existing images -- achieve its current prominence. The book's four main essays take lots of wonderful detours -- into Beckett, Throbbing Gristle, 9/11 photographs, Civil War battlefield photography -- and continually invoke Roland Barthes. They read like a series of often interesting papers delivered at a symposium but ignore more than half the artists in the show, mostly the younger ones. [ABSTRACT FROM PUBLISHER]

TAIYO ONORATO/NICO KREBS: 'THE WHOLE SHEBANG' Marcel Broodthaers's ''Museum of Modern Art, Department of Eagles,'' that textbook example of postmodernism, seems to have inspired this installation by a pair of Swiss artists better known for their photography. But where Mr. Broodthaers created a fictitious museum department from a single, powerful symbol, Mr. Onorato and Mr. Krebs offer a series of oddities and one-liners. Thirty-two crudely fashioned, quasi-representational assemblages are displayed on pedestals throughout the black-walled gallery. Included are a brown paper teepee covered with peace signs, a laptop computer made of Styrofoam and painted silver, an urn oozing a Play-Doh-like substance and a small figure urinating on a cracked mirror. Birds appear to be a theme, perhaps in deference to Mr. Broodthaers: one is roasted on a spit, and another is covered with white droppings. [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "Impressed by Light: British Photographs From Paper Negatives, 1840-1860" at the Metropolitan Museum of Art in New York City.