LEE FRIEDLANDER/ MANNEQUIN

To make the photographs in Mannequin, he returned to the hand-held, 35-mm camera that he used in the earliest decades of his career. Over the past three years, Friedlander has roamed the sidewalks of N.Y., Los Angeles and San Francisco, focusing on storefront win dows and reflections that conjure marketplace notions of sex, fashion and consumerism, while recalling Atget's surreal photographs o f Parisian windows made 100 years earlier.