TO AUG. 25

It’s usually hard to make a 30-by-40-inch photographic print look crisp, even if the negative is bigger than that of a standard-issue 35 mm camera. Of the nine images at Fusebox taken by Washington photographer Jason Falchook, a few suffer significantly from enlargement, but others benefit from a well-polished trick of the trade: intentionally making big photographs fuzzy-focused, so that the absence of a fine grain doesn’t much matter. A few of Falchook’s pieces are enigmatic (is that a windshield view from a metered cab in Hours/Ours?) but most are recognizably domestic (Interstice is pictured)—a lawn, a kitchen, a living room. The images in which Falchook really succeeds—including the back yard of Unfurl/Repose and the apparent carpet in The Offing—are those in which he establishes a narrow plane of focus in the middle distance, then lets the rest of the scene recede unfocused in both directions. This approach suggests that of Paul Graham’s late-’80s documentary work inside British welfare offices—images that focused, for instance, on a particular word among many on a graffiti-covered table. The Offing wins extra points for its pair of circular light spots near the upper edge; they suggest the milkdrops that Harold Edgerton famously captured as they splattered onto a flat surface. The exhibition is on view from noon to 8 p.m. Wednesday to Saturday and from noon to 6 p.m. Sunday, to Sunday, Aug. 25, at Fusebox, 1412 14th St. NW. Free. (202) 299-9220. (Louis Jacobson)