Begun in the rapidly gentrifying Lower East Side of New York, where Leonard had a studio for over twenty years, Analogue initially included photographs of diverse, moribund storefronts in the area but gradually expanded to other boroughs in the city and beyond. Long renowned as a center of the garment industry, this once working-class neighborhood with its numerous tailors and fabric stores had attracted new and used clothing merchants. By the late 1990s, however, many of these small, individually owned businesses were closing as a consequence of the influx of large chain stores, such as J. Crew, Old Navy, the Gap, and others. As she documented the loss of these retailers along with other kinds of local commerce, from pawn shops to independent jewelers and butchers, Leonard became particularly fascinated by the textile recyclers, whose premises were filled with giant bundles of worn goods ready for shipment to third-world markets in Africa, Asia, and elsewhere. Perceiving in the rag trade, as it’s familiarly known, a microcosm from which to explore shifts in global marketing, she began to trace the dispersal of these prod- ucts abroad. Traveling to Uganda in 2004 enabled Leonard to witness firsthand the complex and subtle ways African culture absorbed discarded Western goods. While some items, such as pillow cases, were transformed into dresses for little girls, men’s suits were displayed in two rows with jackets hung in lines above trousers in roadside stalls, T-shirts with what might be considered quintessentially American imagery, like Mickey Mouse or Barbie, were worn with different styles and significations from those of American youth. Additional trips abroad, including to Poland and Cuba, deepened her insight into the substrata of economic and cultural interdependence on which global markets are premised. For Leonard, such direct experience illuminates the intimate networks of relations in what she modestly calls her mundane daily life.  The handwritten signage of her own neighborhood’s jewelry store, like the Coca-Cola advertisements on East African roadside stalls, serves as a reminder of the fact that most consumer products — whether food, fuel, clothing, or video games — are produced elsewhere and reach us through an intricate system of exchange. While the interpenetration of multinational markets might suggest that a hegemonic uniformity is gradually supplanting the idiosyncratic expressions particular to indigenous cultures, Leonard found plentiful evidence of playful and subversive forms of resistance — such as the dramatic posters for reduced prices at her local butcher shop and the improvised Kodak billboards on the outskirts of Kampala. From a corpus of more than ten thousand photographs shot over a decade, Leonard selected four hundred and twelve to comprise the installation version of Analogue. (Its two variants are a book and a smaller series of forty dye transfer prints, each produced in an edition of 6.)  Arranged conceptually — that is, by idea rather than by typology or chronology — the chapters or groups of images are displayed in grids. Any exploration of the political, social, economic, and cultural strands that connect image to image, chapter to chapter, becomes a means of charting the course of Leonard’s twin impulses, one elegiac, the other investigatory. Like other cartographic devices, this personal mode of mapping structures and defines the terrain while providing knowledge about it One of the seminal works of art of recent years, Leonard’s Analogue has been exhibited at the Reina Sofia, Madrid; the Fotomuseum Wintherthur; the Wexner Center for the Arts, Columbus; Document 12, Kassel; the Dia Art Foundation, New York; MuMOK —Museum Moderner Kunst Stifting Ludwig, Vienna; the Pinakothek der Moderne, Munich; and Villa Arson, Nice.