Selected from the Henry’s deep photography holdings, The Digital Eye considers how the medium has changed in era of Photoshop and DSLRs. Over 100 images, from Asahel Curtis to Chris Jordan, chart the 21st-century shift from a single, intact image, created from chemicals and light, to multiples and pixels we manipulate on the computer screen. Whether in Joan Fontcuberta’s collage of Lynndie England (composed of tiny tabloid images) or Roy McMakin’s checkerboard scrambling of a still-life begonia, the image gradually loses its integrity. There’s no whole, only parts–rearranged into new grids, arrays, and impossible all-at-once views. The old click of the shutter is no longer decisive; we’re now seeing whole series of exposures, many aspects in a single glance. Yet in a paradoxical way, an old galloping horse study by Eadweard Muybridge produces something of the same effect: time stopped, over and over, and the only unity is that of our perception. Wander outside the exhibit, where a a small display of Andy Warhol’s Polaroids is running concurrently, and the tiny, single-process squares today seem like they’re a century old. BRIAN MILLER

Wednesdays, Saturdays, Sundays, 11 a.m.-4 p.m.; Thursdays, Fridays, 11 a.m.-9 p.m. Starts: July 9. Continues through Oct. 2, 2011