Lee Friedlander's restless eye is nowhere in stronger evidence than in his photographs of cars in the American scene. Highlighted here are unique prints from a recently rediscovered project of late 1963. Asked by Harper's Bazaar to produce a pictorial feature on the next year's models from Detroit, Friedlander set his shiny subjects in vigorously unglamorous places: gas stations, parking lots, and even used car lots. The magazine opted not to publish these puzzle-portraits of a Pop Art landscape; they are exhibited for the first time here, on loan from the collection of Randi and Bob Fisher.

Lee Friedlander, American, born 1934. Detroit, 1963, printed 2011. Gelatin silver print. Museum purchase, gift of Elizabeth S. and Robert J. Fisher, Class of 1976. 2011-110. © Lee Friedlander, courtesy of Fraenkel Gallery, San Francisco.

This eye-popping installation features photographs from the Museum's collection that explore the dynamic range between graphic pattern and illusionistic image. At the center is a group of fifteen works from the archives of the Clarence White School of Photography. White School students variously framed rhythmic patterns they found in real-world situations, arranged objects in the studio to create patterns in the camera’s eye, or crafted picture-puzzles out of multiple prints of a single image. Other featured photographers include Lilo Raymond, Ray K. Metzker, Torbjørn Rødland, Jean-Pierre Sudre, Harry Callahan, Danny Lyon, and Harold Edgerton.

William G. Houck Jr., Untitled (safety pin shadows), 1933. Gelatin silver print. Archives of the Clarence H. White School of Photography, Princeton University Art Museum.

Object of Devotion will afford visitors to the Princeton University Art Museum a rare glimpse into the spiritual lives, hopes, fears, and religious aspirations of medieval Christians through the exceptional art created during this fascinating time in European history. This exhibition of sixty exquisite panels and freestanding figures--drawn from the world's largest collection of medieval alabasters, the Victoria and Albert Museum, London--features works originally commissioned for and displayed in the homes, chapels, and churches of both aristocratic and non-aristocratic Christians. Dramatic and intricately crafted, these works are some of the finest examples from the prolific school of religious sculpture that flourished in England from the late fourteenth through the early sixteenth centuries.

British: Adoration of the Magi, mid-15th century. Alabaster, 43.2 x 26.7 cm. The Victoria and Albert Museum. Image courtesy of the Victoria and Albert Museum.

Literary narratives are modified and sometimes mystified in their long afterlives, as their audiences change and expand. So, too, are visualized narratives. Works from the fifteenth to the nineteenth century, selected from the Museum’s collection of Japanese art, offer a glance at the narrative myths embedded in pictures. Featured in this exhibition are two recent acquisitions: Monochrome Handscroll of the Tale of Genji, dated to the late fifteenth century, and a set of four prints, Famous Sites of Edo in the Four Seasons, by Andō Hiroshige.

Japanese Muromachi period, 1333-1568 attributed to Inoo Tsunefusa, 1422-1485. The Tale of Genji Handscroll; ink on paper. 16.2 x 934 cm. Museum purchase, Fowler McCormick, Class of 1921, Fund

The early-nineteenth-century landscape painter Qian Du created works for high officials, wrote treatises on painting, taught, and produced a large body of work. Curiously, despite his achievements, Qian Du’s landscapes are rarely discussed in the larger context of Qing dynasty (1644-1912) painting--—in part because a distinct painting style separates his work from that of his more "orthodox" and "individualist" contemporaries. Organized around a core group of Qian Du’s landscapes, this exhibition brings together Qing landscape painting from the Museum's collection and from private lenders and explores the ways in which Qian's painting style differed—--in subtle but important ways—--from most other Qing landscape painting.

Qian Du, 1764-1844 Boat Returning Home, 1815 Hanging scroll; ink and pale colors on paper Gift of Mrs. Edward Elliott y1980-42