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The organizers of “Gute Aussichten: New German Photography” have covered a lot of bases with this year’s iteration of the juried exhibition. Conceptual art? Check: In her interactive works, Katrin Kamrau meditates on the empty spaces where photography is practiced. Still life? Yes: Samuel Henne offers portraits of Rube Goldbergish inventions built from found domestic objects, set against ’50s hues of pink and baby blue. Documentary: Rebecca Sampson presents emotional images of people, from obese to anorexic, undergoing treatment for eating disorders. In the landscape category, there’s Helena Schätzle’s project to retrace the steps of her grandfather as he returned home from a World War II POW camp in Russia, which leads viewers through an unrelentingly grim landscape of windswept plains, rusting chain-link fences, and foreboding skies, leavened only by portraits of the elderly residents she met along the way. The collaboration between Andre Hemstedt and Tine Reimer crosses boundaries, most notably ruminating on the idea of balance using the simple but eloquent imagery of a two-by-four leaning against a plain wall at ever-more-unstable angles. But the show’s standout is Stephan Tillmans, who creates pixel arrangements by flipping off old television sets and capturing the geometrical shapes that appear as the broadcast image vanishes. The images are mesmerizing, and suggest a charming retro vibe amid our increasingly digitized age.

The exhibit is on view 9 a.m. to 5 p.m. Monday to Thursday and 9 a.m. to 3 p.m. Friday at The Goethe-Institut, 812 7th St. NW. (202) 289-1200.