German photographer Struth is among the artists from the celebrated D sseldorf School who studied under conceptualists Bernd and Hilla Becher in the 1970s and 1980s. Their rigid, deadpan style of uniform picture making proved a rich starting point, and in maturity Struth’s work excavates the nature of photography itself. Three new titles encapsulate the work of this important midcareer artist. Portraits, published on the occasion of Struth’s one-man exhibition at the Sprengel Museum in Hanover, contains the artist’s psychologically loaded frontal images of his human subjects. In the words of curator Weski, Struth’s camera is applied like “a two-way mirror,” reflecting both the photographer and his view of the subject with us, the viewer, as the third partner. Still presents an overview of the artist’s work, including his flower pieces, some portraiture, and his early street photos. Dubbed “subconscious places” by the photographer, the city roads, with their austerity and vanishing point perspective, convey multiple layers of history as well as the “photographic moment.” Museum Photographs, with its images of people viewing works of art in museums around the world, explores photography’s rivalry with painting as well as issues like how art changes by being in a museum, how it is displayed, and how we look at it. Including an outstanding essay by Belting, this slim, oversized book contains 17 large plates of the enormous photographs. In spite of its usefulness in bringing these works together and the high quality of the reproductions, this publication underscores an inherent difficulty in publishing Struth’s photography: because it is so much about photography itself, i.e., the photograph on the wall, this “translation” into book form strips away some meaning and a large portion of the effect. Both Museum Photographs and Portraits are recommended for larger art and photography collections, the former for its superior essay and the latter for its comprehensive look at this central series.