Mr. Bradley, 28, has been slowly building a fan club for his casual, curbside snapshots. Purposely shorn of aesthetic concerns, they portray friends, family, lovers, his travels and day-to-day details of life as an artist in a messy modern metropolis. Together, they amount to a kind of Generation X “Remembrance of Things Past.”

Assembled by Amada Cruz, Mr. Bradley’s exhibition contains an extended photographic essay and a video installation. The essay includes many tender and surprising images, among which are a number of pictures of whales decomposing on the shores of Ocean Beach in San Francisco. Seeing their endless, beached ranks is heartbreaking. 

Many of the photographs contain a kind of primordial vitality. Partly it’s the subject matter, with numerous shots of people sleeping, showering and eating, and partly the artist’s carefree technique. Mr. Bradley belongs to the point-and-shoot school of photography, but he has a better eye than most. His photographs possess a rare, radiant humanity. 

The closer you at the photographs, the greater your appreciation grows. The same goes for Mr. Bradley’s video installation, “Theory and Observation” (2002). It was shot from the back of Notre Dame Cathedral in Paris with a hand-held camera, the artist zooming in on the faces of choirboys rehearsing on stage. The images are set to the sound of the physicist Stephen Hawking talking about the origins of the universe and some other music. Religion collides with science in this piece, although it’s done so gently neither gets hurt.