Sara Cwynar draws upon a vast collection of stock images and everyday items—books, boxes, clothing, dolls, plastic cups, etc.—to rephotograph, print, and scan for her photocollages, deliberately complicating any viewing of her work. In Three Hands, she arranged photographs connected to multinational business transactions in a loose, vivid grid, the bottom of which is punctuated by a composite image of an improbably three-way handshake. The cacophony of the resulting image unsettles the viewer’s perception of the agreement underway; what, precisely, has been decided, and who will benefit?
