Containing selections from a project in three parts-shown concurrently in Los Angeles, New York, and Stockholm-Nowhere Near exists as a sort of cinema in flux, a photographic investigation into perception and time that resists any will-to-narrate. Presented in mainly in diptychs and triptychs of precisely uniform dimension, every picture here features essentially the same subject-a large window in the artist's home with a view overlooking her yard. Some images focus on the view through the window: into the yard, at a tree, or off into the distance. Others are focused on the window itself or some component thereof: rain streaks, fingerprints, dust. Still others reflect the interior of the space. The sum effect is one of displacement-of the artist/viewer relationship, of the senses, and of subjectivity itself.