How We Remember: Images Found and Made 

Judith G. Levy’s strongest body of work to date probes how people recall experiences then interpret, record and reinvent them as individual or collective memories. Most works resulted from travels to Germany and Poland through support of a Creative Renewal Fellowship. New pieces, as in past shows like Girls Brigade, still address the subject of identity through imagery, including some of Levy’s trademark minimalist white-hooded and red-boot clad characters. But here, Levy’s focus expands from gender questioning and slight voyeurism and ties in hard searching: How do memories translate into something significant? The 10-piece, cumulative installation starts with “My Family Memoir” dealing with war and genocide related to Levy’s family — Polish Jews on one side, German Lutherans on the other. The work uses a poster-like form reproduced as a giclée, in itself a “memory” of Levy’s original artwork. Clear, simple, plastic viewfinders, each with a slide transparency inside, hang from the ceiling to make up How We Remember. Viewers peer individually at recycled images from someone’s family vacation to Southern Railway, for instance, or a ’70s wedding. Levy has expertly crafted triggers for our own memories. A video filmed by Levy during a bus trip to the concentration camps of Auschwitz and Birkinau — death traps made into tourist traps — might be the most frightening on multiple levels. We hope Levy, who has left Indianapolis and her Harrison Center studio and has relocated in Lawrence, Kan., will stay in touch. Through Aug. 30; 317-450-6630,, —Susan Watt Grade

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