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The Touchstone Gallery’s “Photography Group Show” offers examples of both unlikely successes and compelling material squandered. Michael Dunn’s work falls into the latter category: In 1995, he haunted streets in downtown Detroit that, due to long-term depopulation and abandonment, had been taken over by prairie grasses; Dunn’s idea is far more interesting than the resulting images, which pack little visual punch. Andrew Glickman, working with the failure-proof scenery of Tuscany, achieves more success: One photo depicts an elevated road slicing into the lush countryside like a hypodermic needle into skin, while another displays a carpet of green fitted sensually over a series of hills (Cypress Grove Near Torrenieri, Italy, 1997, pictured). The husband-and-wife team of Raul Jarquin and Elizabeth Jarquin Manegold shot their separate works in the same setting—a concrete factory in Virginia—but came away with divergent visions. Jarquin sought to capture the factory itself—which, with a few exceptions, proved exceedingly difficult; there just doesn’t seem to be much to get emotional about in the industrial expanse. Manegold, on the other hand, used the factory’s drab hues and blank walls merely as a backdrop to photograph broken chairs in situ within a narrow plane of focus. The product is a joyously disorienting experience that leaves the viewer unsure whether the chairs are full-sized or miniature, an effect that recalls the more celebrated work of David Levinthal. The show is on view from 11 a.m. to 5 p.m. Wednesday to Friday, and from noon to 5 p.m. Saturday and Sunday, to Sunday, Aug. 3, at Touchstone Gallery’s Annex, 406 7th St. NW. Free. (202) 347-2787. (Louis Jacobson)