Adam Fuss. (Preview).MUSEUM OF FINE ARTS Museum of Fine Arts, Boston, chartered and incorporated (1870) after a decision by the Boston Athenaeum, Harvard, and the Massachusetts Institute of Technology to pool their collections of art objects and house them in adequate public galleries. The first building was opened in 1876; the present one, designed by Guy Lowell, in 1909. The museum is supported entirely by private contributions and endowments. It's easy to see Fuss's cameraless photograms and latter-day daguerreotypes as reactions to our digital era, in which photography's ring of truth has a hollow sound. But as this fifty-five-print not-yet-midcareer survey (curated by Cheryl Brutvan of the MFA and Thomas Kellein of the Kunsthalle Bielefeld Bielefeld (bē`ləfĕlt), city (1994 pop. 324,670), North Rhine–Westphalia, N central Germany. It has been noted since the 13th cent. for its handmade linens. Other manufactures include silks, clothing, sewing machines, bicycles, machinery, pharmaceuticals, and, most recently, electronic equipment.) shows, Fuss is interested less in documentary fact than in evanescence and immateriality. His archaic techniques provide a direct imprint of the thing photographed, but the result is a paradoxical loosening loosening /loo·sen·ing/ (loo´sen-ing) freeing from restraint or strictness. loosening of associations in psychiatry, a disorder of thinking in which associations of ideas become so shortened, fragmented, and disturbed as to lack logical relationship. of the image's bonds to the physical world--an aspect that puts Fuss's pictures in a league with Robert Ryman's all-white canvases and Wolfgang Laib's pollen floor pieces. Sept. 25-Jan. 12; Kunsthalle Bielefeld, Mar. 2-May 9.
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