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The photographs by August Sander now on view at the Phillips Collection—part of three simultaneous summer exhibitions at the gallery—will be unfamiliar to visitors who know only his most famous works, namely the formal portraits of hundreds of individuals from all walks of life that were made as part of “Man in the Twentieth Century,” Sander’s taxonomic study of the people of his native Germany. The images at the Phillips come from Sander’s landscape work—the less controversial project he turned to after the Nazis banned his “Twentieth Century” project for being insufficiently Aryan. Unfortunately, Sander’s landscapes—brambly forest studies, Alpine scenes, and snowy park trees—though carefully made, are ultimately less affecting than his portrait work. Aaron Siskind, for his part, produced a remarkably consistent body of work from the 1930s to the 1980s—black-and-white close-ups of accidental details found on walls and other surfaces, most famously graffiti and ripped posters. While Siskind’s approach sometimes verges on repetitiveness, he does have a knack for capturing overlooked beauty, such as the three-dimensional curls of paint in Jerome 21. Given this festival of black and white, the boldly colored oils, inks, and enamels of Georges Rouault may seem out of place, especially the vividly melancholy tones of Afterglow, Galilee. The shows are on view today from noon to 7 p.m. (to Sept. 5; see City List for other dates) at the Phillips Collection, 1600 21st St. NW. $8. (202) 387-2151. (Louis Jacobson)