Walking in Memphis

To a world portrayed largely in a black and white documentary style, William Eggleston introduced a brash, acid palette. His photographs of Southern American life manage to glow with a synthetic current. Whether moving or still, alive or inanimate, Eggleston's subjects are conveyed with an equal force and value.

Dust Bells is a series of previously unseen photographs from the mid-1960s to the early 1970s. Sometimes occupying the centre of the picture, sometimes on its margins, we see big Southern houses, huge billboards and cars with fenders that look as if they're about to take off.

There's a church congregation, its members turned to eye the camera, a little suspiciously it seems; a woman, whose handbag is worn like a weapon, striding down a street tilted dizzyingly to a slight diagonal; a family group standing in a huddle, sandwiched between the vast yellow landscape and the deep blue sky and a young girl simply standing alone in a street at night. In each case, you could make up a dozen different stories, tall tales of Memphis life.

Also showing is a film Eggleston shot in 1974 with an early handicam. Stranded In Canton is a series of jumpy vignettes shot in black and white. In it, we see a series of Memphis 'characters': an old man fooling around with a human skull, another playing a tune on his harmonica and an aging queen showing off in front of his lover, each lapping up the camera's indiscriminate eye.

Until Dec 18, Victoria Miro, 16 Wharf Road N1, Tue to Sat 10am to 6pm, free. Tel: 020 7336 8109. Tube: Old Street