Many things about “Snow,” the photographer Sohrab Hura’s new volume of images from Kashmir, feel incomplete—but purposefully so, as if partially occluding our gaze might also focus it. Each of the 175 photos sits by itself, square and silent, on a white page, without a jot of text to indicate when and where it was taken, or what it depicts. There’s no introductory or concluding essay, merely a couple of notes. And finally, there’s barely any direct sign of the conflict that has, for decades, eaten into the very bones of Kashmir, a territory claimed so ferociously by India and Pakistan that they’ve fought several wars over it, pushing its people into anger, ruin, and, since the 1980s, armed uprisings against Indian rule. The standard lexicon of documentary photos from Kashmir includes army convoys and barricades, soldiers and protestors, fear and hostility. In “Snow,” “I spotted armed troops only twice: once in a small, loose coterie ambling near a railway line, and again in an image of a single man attired pudgily in both camo and winterwear, standing in a patch of brambly land, his helmet on the ground next to him. All these officers seem unsure of what to do or where to look—which is entirely unlike the Indian military’s brutal, relentless approach to holding Kashmir,” Samanth Subramanian writes. See more: www.newyorker.com/culture/photo-booth/sohr...