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at sepia EYE Gallery features photographs and videos by five artists who work with a repository of existing visual materials.

"I use my fingers, palms, knuckles, and arms to grab, place, hold, nudge, jog, sweep, and shake the different components of the photomontage," says Pradeep Dalal, explaining the process of creating his photographic collages, .

How do you now think about vernacular art and architecture alongside Modernist art and architecture?

I deeply identify with many aspects of modern architecture—the functional, no-frills part and some of the modernist work of Charles Correa, B. Doshi (especially his CEPT campus where I studied) and Leo Pereira (both of whom were my teachers), which was spare, understated almost austere. He says: "My interest has always been in the mother tongues, not Sanskrit, because I have always felt that the mother tongues represent a democratic, anti-hierarchic, from-the-ground-up view of India.

While I get Lewis Baltz's point that "photographs are abstractions, their information is selective and incomplete," I also want art that engages with social concerns and that has a more elastic sense of time—where perhaps the long ago and the present are congruent, closer together.

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Do you find yourself searching and collecting photographs, textiles, books etc. Also I use Xeroxes of articles that I read on the subway. You have been teaching in the MFA program at Bard and in many other graduate programs in the city. I enjoy teaching and have not consciously tried to figure out ways to utilize it into my own way of working.

Despite the slipperiness of memory, Louise Bourgeois insists that they are her documents and adds, "You have to differentiate between memories. The paradoxical place between memory and document is the location of the works in this exhibition.