One could easily recommend any of the small, sharply focused exhibitions now on view at White Columns; my favorite is John Stezaker's show in one of the gallery's "White Rooms." Despite a thirty-five year exhibition history in London, where he lives and works, this is the artist's New York solo debut. It features only eleven diminutive, near-seamless collages, yet reveals Stezaker's wit and acuity; his "image fascination," to use his preferred term, comes across as a preternatural ability to divine visual concordances across disparate source material. The "Film Portraits" on view appropriate hand-tinted headshots of mid-century silver screen luminaries, juxtaposing two smooth-skinned faces to create a perfectly formed hybrid. The best of these, Film Portrait (She) VIII, 2005, uses an off-center female-silhouette-shaped cutout to reveal the male half of a male-female composite, triangulating the implied relationship by introducing a third "character." (The length of this description misrepresents the pleasingly intuitive economy of the artist's gesture.) Three "Incisions," each of which is marked by a V-shaped cut that stretches vertically across almost the entire work, are methodologically similar, but use elements—the shadow made by a crouching boy, a low-lying building in the distance—drawn from more varied sources to stitch together the image torn asunder by the cut. Many younger artists, from Angus Fairhurst to Christian Holstad, have adopted Stezaker's technique, but they rarely achieve the balance of whimsy and fastidiousness that these works so casually display.