Boris Mikhailov’s body of work arrives out of a logic of subtle resistance he adopted in the 1960s while working as a photographer responsible for documenting the factory infrastructure in Kharkiv, Ukraine. Mikhailov takes a writer’s stance, adapting his method in accordance with shifts in the Soviet political climate. Referring to everyday spaces of the city that read as desolate and abject,City andDoubles present an exhaustiveseries of photographs shot over a period spanning the late-1970s to early-80s.In the later series, Salt Lake, Mikhailov focuses on supposed leisure spaces that are framed within tainted industrial landscapes. These series illustrate the conceptual underpinnings of Mikhailov’s work, which parallel his own experience as an individual who was misunderstood in his own country.