This article is part of our latest Fine Arts & Exhibits special report, about how art institutions are helping audiences discover new options for the future.

Gillian Wearing, the English conceptual artist, has long been fascinated with the interplay of photography and technology.

“It affects how we present ourselves,” our sense of identity, Ms. Wearing, who lives and works in London, wrote in an email. “To me it’s about intuiting the effects of it, being aware of its presence and how it molds us as much as the other way round. We are interconnected.”

Ms. Wearing has been creating provocative and penetrating works that probe questions of identity for three decades. Her portraits — of herself and others — are well known in Europe. A new exhibition at the Solomon R. Guggenheim Museum aims to introduce her to a wider audience.

“We have been mounting a series of exhibitions of

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Aug. 1—A portrait of Sue Jenkins soaking in fixer quickly began to develop on a coated slide of an aluminum trophy plate.

The photographer, Rebecca Daniels, leaned in to inspect her work in the backyard of Jenkins’ Dunmore home. Brown streaks coat Daniels’ hands from the silver nitrate used in the developing process. She was pleasantly surprised at how well the first black and white take of the Marywood University associate professor of art came out from her tintype camera.

Using the old-fashioned form of photography — first patented in the United States in 1856 — Daniels, a Hawley native, is documenting Lackawanna County residents through the Lackawanna Tintype Project. She received a Creative Community Grant from the Lackawanna County Arts & Culture Department for the project.

Part artistic endeavor, part anthropology project, Daniels, the project manager, and her friend and colleague, Rosie Jacobson, consulting ethnographer, are combining visual history

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