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The symbo-cred cash-out of artists post-mid career usually excuses a lot of easy bad production under a brand to activate it and printed big. Annoying at best, sad at worst. No idea when these were taken, but the choice to exhibit them now could signal the tragic end for Wall's conceptual interest, but instead, rather than place its lens towards big generic what-have-yous of impressive mediocrity, it turns its Wallian skepticism of photographic staging towards small snapshots, that most unstaged and true photography, the thing we base our personal live's recording on, ominous.
See too: Thomas Demand at Avlskarl, Florian Maier-Aichen at 303 Gallery