Museums are full of such agreed-upon loveliness, and by going to them, we passively drink from this fountain of consensual loveliness, as if we need to be told what lovely looks like. Vershbow's photos quietly upend that passive consumption. By shooting these objects under draped sheets of plastic ("Staircase," "Egyptian Statue #2," "Cameo"), surrounded by scaffolding ("Statue at Odeonsplatz," "D.C. #1 (Peace Monument)"), or swaddled in padding ("Twins"), the photographer reminds us not that museums' displays influence how we look at whatever-the-hell people are talking about in exhibition design theory and how to improve audience engagement; he reminds us that somebody cared about this thing in the first place. When moving, do you not consider the accumulation of stuff in your life and wonder what you can toss, recycle, and donate? When sorting the material possessions of your life, do you not look at something and ask, "Do I love it?"