The museum has turned its once myopic annual roundup into an international biennial of work by nineteen artists and collectives who don’t limit themselves to photography. The show includes videos, small wooden models, free-standing sculptures, artists’ books, piles of posters, and a newsstand based on a subway-station outpost in Brooklyn. Lieko Shiga’s enormous pictures, displayed as slabs leaning against the wall, began as souvenirs of the 2011 tsunami in Japan, but were digitally reworked into vividly colorful fever dreams. In another tour de force, Katharina Gaenssier fills a wall just outside the galleries with a patchwork collage of black-and-white photographs, which conflates the museum’s own Bauhaus-inspired staircase, by Yoshio Taniguchi, with Walter Gropius’s famous 1926 stairs in Dessau, Germany, and Oskar Schlemmer’s 1932 painting of the same busy steps—shuffling art and architecture with rigor and wit. Elsewhere, works by John Houck, Lucas Blalock, and Basim Magdy involve smartly subtle distortions of so-called real space. For an otherwise wide-ranging and intelligent show, though, the view of photography presented here is surprisingly narrow, emphasizing inward-turned manipulation rather than outward engagement. Through March 20.