Walker Blackwell and Tarrah Krajnak curated B-sides from the archives of their own “rejected” works, forgotten pictures, and private snapshots. While the process meant allowing one another embarrassing access to external hard-drives and old contact sheets, the pictures deemed un-artistic, non-conceptual, or un-worthy of the light of day are re-contextualized and given new meaning. The final show reads more like a glimpse into a photographic diary where whole pages are missing, but moments of uneasiness, the banal, and vulnerability, show ways in which contemporary photography itself is unfixed, contingent, and ultimately representative of a slippage of meaning.