The longer one looks at Lawler’s exceptionally large-scale works, the stronger the spell they cast. The experience of them is immersive, triggering eye reactions similar to those we know from dark nights and unlit rooms: the pupil, retina, optic nerve and brain re-adjust to the image’s new lighting conditions to allow us to see better and more, make out smaller and finer details, perceive the works with growing clarity. In a sense, these photographs—created in the museum’s nocturnal hours—prompt a kind of night vision, an adaption of the eye to the dark. They succeed in nothing less than transforming the viewer’s visual perception. Even beyond their visual quality, Lawler’s images are characterized by a striking aesthetic density. The aluminium plates on which they are printed give the photographs themselves a sculptural quality. Their materiality mirrors Judd’s works in that regard.