Ori Gersht uses a digital camera, off-the-shelf software and a high-end printer to make photographs that make you wonder what you are looking at. It’s a slippery enterprise. When it works, the uncertainty is sublime.

The Museum of Modern Art has wisely advertised its Bruce Conner retrospective with an image ofBombhead, a 1989/2002 print in which an army general’s head is replaced with a mushroom cloud. This is a show that promises to blow your mind, and it lives up to that threat. Trippy, disturbing, entertaining, and whimsical all at once, “Bruce Connor: It’s All True” is a marvelous look at a figure whose gleefully anarchic work called for the end of culture as we know it.

In a time when the world is constantly depicted to us through images, what is real: the tangible world or the reflected world? Can we even make a distinction between the two? How does it affect our approach to what we encounter? Ori Gersht’s work addresses these issues through two photographic series, On Reflection and Floating World at the Kohn Gallery.