In an enlightening, authoritative foreword to this retrospective collection of Uelsmann's radical photo art, Coleman, who teaches at the Tisch School of the Arts, New York University, cites photomontages of 19th-century sentimentalists and Dadaists of the 1920s as important precursors to Uelsmann's work--the intermanipulation of two or more pre-imaged negatives to produce a single ``post-visualized'' print. As seen here in seamless cohesion, improbably matched images ``appear integral to the depicted scene.'' In a reverse kinship of form, four hands softly entwined contrast with four rocks suspended and forbodingly separate in mid-air; individual orbed faces are either hand-held or framed in a geographer's globe; a tiny human figure climbs the slope of a tilted drafting-board in a richly paneled chamber open to the sky. Uelsmann's originality is impressive.

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