At first glance, the thirteen photographs in Talia Chetrit’s show seemed to be “about” genitalia. The artist’s vulva, memorably depicted in Untitled (Bottomless #4), 2015, was again the unambiguous subject of her work, alternately pictured in a full-frontal view, facing the audience from behind a gutted pair of pants in Jeans (all works 2016), or via not-so-subtle allusion, as in Legs, a portrait of a tripod-mounted camera pointing downward, coolly aimed at the artist’s crotch. . .