At 13, Francesca Woodman’s father gave her one of his cameras to take to boarding school, where she began taking photographs in earnest and quickly mastered the medium, shooting and, crucially, developing her work. From 1975 to 1978, Woodman attended the Rhode Island School of Design, in Providence. But even before she got to Rhode Island, Woodman was producing highly accomplished artworks. Her early death, at 22, was devastating to family and friends, and a loss for art. Woodman brought together all kinds of ideas and references from art history, including chiaroscuro and iconographic imagery. Transforming one form into another was a preoccupation, and there is a metaphysical quality to her work. She often starred in her photographs, treating her own body as subject, object, sculpture, succubus, ghost. Frequently situated at the heart of the image, Woodman plays peekaboo with the camera, her audience, herself. Questions of presence and absence prevail. Indeed, she embodies the spirit of art-school cool—or perhaps, in a twist, uncool, as she was known to be intense. Woodman continues to seek out our attention. Her naked form is irresistible to the gaze, and her confrontational push at the boundaries—that incredible vitality—is barely contained by the paper it’s printed on. She’s the ultimate gothic heroine. Focusing on her affinities with Surrealism, this exhibition features nearly 50 prints Woodman made during her lifetime, many of which have never previously been exhibited. —Sarah Hyde