“It seems to be the time to consider bridges.” James Benning’s latest exercise in looking and listening centers on meeting points between built and natural worlds, ranging from the cinematic (San Francisco’s Golden Gate) to the historical (Selma’s Edmund Pettus) to the self-referential (North Dakota’s Hi-Line Railroad). Its rich sound and painterly compositions seize variously on the passing of clouds, the flowing of water, and the churn of commuters to link physical manifestations of the American project with contemporary flows of people and capital.