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Hans-Peter Feldmann’s understated documents of everyday life seem to stand each on their own, independent of his larger body of post-Conceptual work. Incorporating snapshots and amateur photography into immediate, communicative studies of quotidian existence, Feldmann encourages an almost archival appreciation of the world around us. The series All the clothes of a woman (1973) shows what the title describes—70 items of women’s apparel, photographed one by one. The clothes, like the images, are modest; still the artist remains at an emotional distance, as if merely displaying something he has found, leaving resonance and meaning to the viewer.