Munem Wasif’s serene photographs, which are among the first works you encounter at the Dhaka Art Summit, depict one apparently desolate landscape after another. But if you stay with the images—don’t follow the urge to move on—then small figures start to appear. In one, which seems initially to document nothing but a barren landscape of rocks, gravel, and a pool of water, a bathing man becomes visible. A head, hands, kneecaps break gently through the surface of the water, and of our first impressions.
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