Jessica Lange's astonishing book of photographs stands tall on any shelf, and the pictures are vast in black and white. Some spread across two pages.
Others face a huge field of blank.
Leni Riefenstahl got her start making films in Nazi Germany, most famously Triumph of the Will. Later--after--she took a still camera to Africa and brought native grace to her white pages.
Kehinde Wiley begins with the art one might find in books and would inevitably find in museums, and then he insinuates his blackness.
There is alignment in this juxtaposition.
And maybe some oneness.