Daniel Arnold—whose street work picks up from Garry Winogrand and Joel Meyerowitz, but with a ragged edge of comic mayhem—goes wild on one of the show’s large walls. Exploding out from the central image, of a woman in high heels sprinting down the sidewalk, away from the cameraman, are dozens of torn and cut-up fragments: the chaos of the urban street, completely out of control. Arnold has tough competition for the show’s knockout punch in Gray Sorrenti’s even larger work, papered end to end with hundreds of FaceTime captures: pictures within pictures, everyone looking, including us. “This is my heart,” Sorrenti writes on the wall label; it’s wide open and irresistible. But there’s another picture here I can’t forget. One of just three big enlargements by Jerry Hsu, it’s a man’s hand, raised as if to warn someone or to ward off a blow. Beads of blood collect at the base of two fingers. It could be the first shot of a film by Luis Buñuel, or the last.—Vince AlettiAbout TownDance