What is important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again.  Really great art regenerates the perception of reality. . . .  –Gabriel Orozco, 1998

A show within a show, Other Walks: Gabriel Orozco is an in-depth look at the walking-related photographs and videos of a single artist. Since art school, Gabriel Orozco has taken an interest in walking the streets and experimenting with what he encounters, frequently revisiting the same area several days in a row. For Orozco, photography is less a medium than a tool for collecting his interactions with circumstances and objects (never people). There is a sense of vulnerability and temporality in his straightforward images, which capture both chance encounters—rainwater collected in an umbrella, fleeting footprints embalmed in concrete, steam rising from a grate—as well as the artist’s minor sculptural interventions, such as objects rearranged on a supermarket shelf, a stone placed atop a roadside oil drum. Rather than existing as documents of the past, Orozco sees his photographs as containers of events or phenomena that are still occurring, still being experienced, through the viewers’ act of looking.

Three rarely shown videos (one of which is on view downstairs) demonstrate Orozco’s manner of looking. Shot on the streets of Amsterdam and New York and in a London supermarket, Orozco’s stream-of-conscious videos relate objects by proximity rather than narrative. To make Before the Waiting Dog, the artist strapped a camera to his back and moved around a supermarket creating unlikely juxtapositions of products while the camera’s undirected eye recorded what was happening behind his back. Such aimless looking is in sharp contrast to a dog attentively awaiting the return of its owner at the end of the video. Concentration and discernment in looking ebbs and flows; connections are perceived and lost again.