These close-up images overlay various acts of looking: the artist’s tireless scrutiny of the original image, the subject’s wary or wounded gaze at the blank eye of the camera, and the viewer’s own transfixed curiosity, delayed there through the work’s density of mark-making. In Manigaud’s transcriptions of aerial photography, we participate in another loaded look: the Allied bomber pilot over Cologne, gazing down at the peaceful grids of housing and industry, in search of a suitable target. Held at bay from the reality of the scene through the misty scrims of graphite, these images oscillate between the historically distant and the almost unbearably close.