Among the handful of digitally altered works are several large pieces by local pioneer of the medium John Bonath and Conor King's monumental landscape, in which letters and numbers are hidden in the tall grasses in the foreground. Finally, there are the hallucinogenic works by T. John Hughes, in which ghostly images of lost historic buildings are superimposed on present-day shots of the same place.

A few works defy easy categorization, like the Polaroids by Joe Clower, in which he has suspended a miniature space ship in front of real views of the city or countryside. Also unusual and very good is the imaginary assembled landscape by J. Frede made from antique black-and-white snapshots of different views.

P. J. D'Amico, RedLine's executive director, told me he was in awe of the difference that a single person — in this case, Mark Sink — can make for the city. And who could argue with that?

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