There is a very good exhibition at Lawrimore Project this summer, an exhibition about what the hell a photograph actually is, as an object, leaving the pleasurable feeling that a photograph can be almost anything at all, and that there are mysterious operations at work in every one. Like Target Practice at Seattle Art Museum—my new review is out here—this show, curated by Bob Nickas and traveled by Presentation House of Vancouver, B.C., is on the surface an exploration of a medium, which could not sound more tedious, but which turns out to be a liberating reminder that the identity of every medium is defined by a horizon line rather than a hard limit.

If you thought, for instance, that you knew what a contemporary photographer might shoot, and/or what a baby picture might look like, this may change your mind. It's Baby, from 2007, by Torbjorn Rodland. It is not manipulated—just straight photography.

Judging from Rodland's web site, he has something in common with Seattle artist Anne Mathern.

And Rodland's video at Lawrimore Project, 132 BPM, is sheer joy: everything moves to the beat. Stalks of bamboo groove. Feet step on stairs in time. Sight and sound are united, metronomic. It's a cosmic disco is both absurd and deeply reasssuring. I think you'll love it; there's a minute-long clip on YouTube here. (The whole thing is a 13-minute loop.)

What else is in the show?

Louise Lawler's color-saturated photographs of a work by Warhol, hung at the same height as the now-absent Warhols;

One of Rachel Harrison's blobby sculptures that seems like nothing more than an elaborate photo-rest. Roe Ethridge's superimposed-by-bad-scanning photograph from a Harry & David catalog. B. Wurtz's sad little metal container set in front of a photograph of it against the sky that makes it look monumental.

Wolfgang Tillmans's simple knockout, paper drop (New York) I.

Jennifer Bolande's lightbox of images—one image per window, it at first appears—in the shape of a modernist tower. The strips of images are actually haunting, glowing hybrid shots from Lever House and a yawning appliance store.

And a photograph by Trisha Donnelly, reigning queen of enigma. It's called Untitled II (Peralta). Trying to figure it out could, thankfully, take a lifetime. What else is art for?