Paul Pfeiffer’s four new photographs are part of his ongoing Four Horsemen of the Apocalypse series. In this body of work, images are manipulated through the removal of contextual details—team names, the basketball, any reference to the sport—revealing a solitary figure placed before a crowd. The title is an art historical reference to a series of woodcuts by Albrecht Dürer of the same title, which depict the figures that appear at Armageddon. Borrowing this title, Pfeiffer conjures not only the study of the figure as it relates to the Western pictorial tradition, but an unease that is indicated by the appearance (and disappearance) of the figure.