In a forensic experiment, the artist gained access to hotel rooms in American cities after checkout and before maid service, photographing the traces of occupancy. The subject matter—dirty rooms—creates salacious expectations that go unsatisfied. Instead the pictures have an air of homogeneity as bed after bed is unmade and lamp after lamp is left on. A balloon sculpture and a screen removed from a window, in New Orleans, or an undrained tub, in Miami, are about as wild as things get. Over all, Larson does for hotel rooms what the Bechers did for water towers, revealing the subtle character in the generic.